This Israeli-made thriller follows a mysterious, emotionally complicated Mossad recruit, Rachel (Diane Kruger), as she takes an undercover assignment in Iran, posing as an English teacher, and helps to subvert Iran’s nuclear ambitions as part of Israel’s Operation “Business as Usual”, which involves duping the Iranians into purchasing defective technology. Her mission leads to her sexual involvement with an Iranian electronics magnate, Farhad (Cas Anvar), prompting Rachel’s Mossad bosses to wonder whether her loyalty is divided. Martin Freeman, meanwhile, appears as Rachel’s beta orbiter Mossad handler.
3 out of 5 stars. Ideological Content Analysis indicates that The Operative is:
[WARNING: SPOILERS]
Islamophobic! Islam is depicted as an oppressive force in Iranian life, with massive likenesses of Ayatollahs glaring down at Rachel when she first arrives in the country. As a woman, she has to cover her hair with a scarf in public, and the threat of Islamic rape culture is made real for Rachel when she has to hide in the secret compartment of a truck with a desert yokel who grabs her and finger-diddles her.
Sexist! Rachel, rather than embodying the female super-spy cliché that viewers are probably expecting, is instead depicted as a dishonest, undependable, and erratic liability – the Eternal Thot whose lust for an exotic, hairy-faced Iranian places Israeli security in peril.
Anti-anti-Zionist and anti-Corbynite. Rachel’s father is described as a “British liberal” who “hated Israel”, and her name, Rachel Currin, which sounds rather like Rachel Corrie, may be intended to foreshadow her eventual betrayal of the Mossad.
Pro-Israel.The Operative depicts Israelis as harboring no ill will toward the Iranian people themselves. Rather, it is the Iranian government and the threat it ostensibly poses to Israel that motivates the men and women of the Mossad to take drastic and violent measures.
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.
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.
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.
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’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
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.
More 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.
KMFDM’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
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.
Included in the ten-feature action film collection No One Lives … Forever!, released in 2002 by the now-defunct BCI Eclipse DVD label, is an obscure 1999 Israeli oddity, Full Circle, directed by one Bernard McWilliams. The story concerns Boaz Golan, a Mossad agent sent to New York City in 1990 with the task of preventing a shipment of arms from reaching Saddam Hussein’s Iraq.
Golan is psychically scarred by the dual traumas of seeing his mother raped when he was a child and the adult experience of gory warfare in Lebanon (which, the movie deems it necessary to note, caused the hero to soil his pants). An early scene in Full Circle has Golan fantasizing about raping his female analyst, to whom he tells the blackly comedic war anecdote of discovering the bodies of a couple who had been unceremoniously killed in the middle of a blowjob.
Once he arrives in the United States, women find it difficult to resist Golan’s Hebraic charms, and a neighbor woman enthusiastically throws herself at him, enjoying a sex session on top of a table. Hilariously, the woman grabs a handful of what appears to be tapioca pudding and smears it across the Israeli’s ass in the heat of passion. Also true to the movie’s ethnic origin is a perverted scene in which the woman’s daughter discovers the mother’s vibrator and uses it as a toy airplane.
Israeli superspy Boaz Golan in Full Circle (1999)
Being a spy and a Jewish one at that, Golan thinks nothing of lying to people to get whatever he wants. “I may be moving to New York to study engineering,” he gives as his reason for coming to America. He is also eager to demonize Saddam Hussein and to champion Israel as the ally of the U.S. “Saddam Hussein is crazy. He’s capable of doing anything,” Golan claims. “You know, if the Israelis hadn’t bombed his atom shell, he’d be using it right now against the United States.”
The action is stupidly pedestrian, with Golan depicted as a superhuman who is able to swing on a rope like Tarzan and have a fistfight even after being shot in the abdomen. A goofy scene of a dweeby Mossad asset being mowed down by a woman with a machine gun hidden in a baby carriage earns the movie some extra unintentional humor points, however.
The dull presence of singer-songwriter Richie Havens in a supporting role does nothing to enliven Full Circle, although his sassy girlfriend is an entertaining character, an anti-Semite who can smell an Israeli. In another scene indicative of Israeli attitudes toward American gentiles, Golan warms himself by a bum’s barrel fire, but becomes unnerved and flees when a vagrant approaches and giggles with a maniacal look on his face. This, no doubt, is intended as some sort of evocation of the eternal specter of the Shoah that hovers above all Jews.
The dialogue, typically Judaic, is filthy, with characters calling each other insulting names like “dickless piece of shit” and saying repugnant things along the lines of, “Wake up and smell my asshole.” Also quintessentially Israeli are soulless scenes of sleazy sex, meanness, and torture.
Whether or not Full Circle was designed primarily for American consumption is difficult to say. If so, the decision to leave more than one scene of this otherwise English-language film in untranslated Hebrew was poorly considered. Ludicrously, the end credits are interspersed with disingenuous anti-war messages like, “Instead of fighting one another we should fight those who make us fight.” A “special thanks” credit acknowledges the Broadcast Services of the Israeli Consulate for assistance in producing the film.
IDF veteran and Full Circle producer Yuval Ovadia
So far as this writer has been able to ascertain, the film has no listing at the Internet Movie Database, but the America-Israel Cultural Foundation website’s biography of one of its producers, Yuval Ovadia, gives information about a film titled Orphan of War which also seems to describe Full Circle:
Yuval Ovadia was born in Tel Aviv, Israel in October 31, 1965.
After serving 3 years in the Israeli army he flew to New York, planning to study filmmaking and acting in the best schools he could find.
In NY he studied at Lee Strasburg [sic] Institute, where he studied acting, singing and dancing. Later on he continued his studies at HB Studio, where he spent a long time under the late, famous Herbert Berghof and Bill Hickey. Then he studied all aspects of filmmaking at NYU Film School.
By the years 1996-1998 Yuval worked on a feature film called “Orphan Of War” – a 90 min, 35 mm Action/Drama, co-starring the legendary singer from Woodstock “Richie Havens” [who actually has only a tiny role]. In addition to co-producing this film, Yuval had starred in it, co-wrote the screenplay, edited, and came up with a music album called “Peaceful Circle” – based on songs from the film, which he produced together with Mr. Richie Havens.
[…] Yuval decided to go back to his roots and in 1999 he moved back from New York to Israel, were he got married and is having now 4 beautiful kids.
Full Circle, in short, seems to be as elusive as those notorious “Dancing Israelis” (creepily, Ovadia’s email address is listed as visual911911@gmail.com). The fact that the film is devoted to vilifying the Iraqi government, which would be overthrown by the Jew-puppeteered Bush administration in 2003 with September 11th utilized as the fraudulent pretext – in combination with the circumstance that the doomed Twin Towers make an appearance in the film along with a deck of tarot cards – adds up to Full Circle being a rather unsavory home theater experience. It may be worthwhile, however, for those with an interest in shitty action movies.
Audiences accustomed to expect the ultimate in raunchy excess from Seth Rogen comedies ought not to be disappointed by Neighbors(2014), a highlight or lowlight of the actor’s career depending on individual taste. Rogen (The Guilt Trip) and Rose Byrne (The Internship) play recent parents whose idylls are disrupted when the rowdy Delta Psi Beta fraternity moves into the house next door. When the noise from the nearby parties becomes too much for the couple to take, a no-holds-barred feud breaks out between equally immature factions. What ensues is an hour and a half of some of the most unflinchingly filthy cultural venom this critic has tasted, and some of it is actually pretty funny. Can any doubt remain that Rogen, notwithstanding his irresistible charm and impeccable comic delivery, is for precisely these reasons one of the most dangerous men in the world today, able as he is to cajole audiences into swallowing the most murderous poison? This is the dread testament to his greatness.
4 out of 5 stars. Ideological Content Analysis indicates that Neighbors is:
10. Statist, glorifying police brutality.
9. Anti-gun. Byrne shoots down Rogen’s idea of buying a gun to protect his home.
8. Green. “You better put that in a recycling bin. All of it,” Byrne insists with reference to the beer cans strewn across her lawn.
7. Multiculturalist. Delta Psi Beta includes not one, but two token blacks and even an Asian.
6. Racist! Demonstrating that Jewishness is a get-out-of-jail-free card for anything, Rogen gets to say “nigga” and even wears a hipster-racist T-shirt depicting a negroid feline eating watermelon.
5. Pro-gay. “That’s awesome,” Rogen comments when a faggot couple with a baby moves into the neighborhood. Much of the fraternity’s party culture suggests latent or even overt homosexuality. Two frat lads, instead of having a proper fist fight, grab each other’s groin. “Is that how people fight now?” Rogen asks. “What are they doing?” Rogen is shocked but not too upset at seeing his wife kiss another woman. His climactic confrontation with nemesis Zac Efron involves dueling dildos, with Rogen compelled to suck his enemy’s weapon at one point.
4. Degenerate. “I’m takin’ you to bone town, bitch,” Rogen tells his wife as he fucks her in view of their smiling mischling baby. In one graphic scene of full-frontal obscenity, a girl has an unusually long dick wrapped around her throat. “Hey, guys,” she boasts, “what do you think of my new necklace? It’s a choker.” Sundry other moments, too many to mention . . .
3. Pro-drug. Weed blazes throughout the film, with Rogen lighting up on his break at work and also smoking in the presence of his infant daughter. For the final blowout, the frat house is transformed into an epic “hotbox”, with barrels of burning marijuana getting everyone on the premises high. Neighbors also contains casual cocaine use and scenes with Rogen gobbling psychedelic mushrooms. Waxing wigger, the hero repeatedly uses the word “dope” to describe anything that meets with his approval. Drinking interferes with Rogen’s sexual performance, but he manages to parlay even this into a comedy shtick to amuse his wife. “I feel like shit, but I love it,” she says when her hangover hits. Referencing Breaking Bad, the couple dresses their daughter up in a yellow suit like Walter White and poses her for photographs with Gatorade ice cubes designed to look like the show’s “blue stuff”. “She’s a little meth head,” Rogen dotes.
2. Family-ambivalent. “We are the family you get to choose and we don’t get divorced,” explains one brother of his fraternity. A tension persists throughout Neighbors between Rogen and Byrne’s commitment to being responsible thirty-something parents and their desire to have fun and feel like freewheeling twenty-somethings. Probably only to give itself some tenuous veneer of socially redeeming value, Neighbors ends with the couple reaffirming their identity as a family. Permeating the story, however, is the sense that they seek escapism from their “boring-ass lives as parents”. “Just because I’m a mom doesn’t mean I’m going to change who I am,” insists Byrne, to which Rogen counters, “Just because I’m a father doesn’t mean I can stop doing mushrooms with teenagers.”
1. Zionist-triumphalist. Notwithstanding the disinformation it generally spews with regard to global Zionist machinations, Hollywood knows and has always known the reality of Judaic high crimes and atrocities. A long and honored Israeli tradition is comically flaunted when Rogen and company stage a false flag party of sorts, shooting fireworks from the frat house to prompt a reaction from the police. Rogen’s compatriot Isaac “Ike” Barinholtz even inserts the Hebrew expression for “Game Over” into a phony letter he crafts to trick the fraternity into misbehaving. Acknowledging Jewish supremacist attitudes toward goy cattle and “shikse” women, Neighbors includes one disgusting sequence in which Rogen milks wife Rose Byrne like a cow. “We should go mom-tipping later,” he jokes, adding, “I was just trying to lighten the mooooood.”
Gelatin, Arc de Triomphe, 2003. (ZOG celebrating a smash success)
As many 9/11 conspiracy buffs and researchers are already aware, one of the most bizarre and mysterious facets of the event’s surrounding mythos is the covert presence of the “Austrian” art group Gelatin (or Gelitin) in the North Tower in 2000 and the resulting conceptual art stunt known as “The B-Thing“. The team, living secretly inside the building, installed a balcony outside the 91st floor, with a few participants finally taking a bow, as it were, and being photographed from a helicopter. What is disturbing is that the prank is known to have been facilitated by the Mossad-linkedLower Manhattan Cultural Council.
A limited edition book documenting the “B-Thing” project was published in the months leading up to 9/11, and it contains what can only be characterized as suggestions of foreknowledge of the attacks. The true nature of Gelatin’s work inside the WTC remains a matter of speculation, but photographs produced in The B-Thing show thought-provoking stacks of boxes. A conspiratorially evocative preface is credited (let the reader be mindful) to “Tex” Rubinowitz, a rockabilly singer and/or cartoonist and/or TV actor – a man or men, in other words, who could hardly be expected to top a list of likely terror suspects.
“Tex” Number One
Just who is “Tex” Rubinowitz, really? Bizarrely, there are actually two men who have used this name. A 1987 profile of “Tex” Number One by Buzz McClain in the Fairfax Journal describes him as follows:
The first time you hear his name you chuckle to yourself. Tex Rubinowitz. It is a comical-sounding name, one with built-in humor. Tex Rubinowitz. The humor stems from the contradictions. What is he, a cowboy rabbi? How many Jewish cowboys are there? But to area fans of rock and roll music, Tex Rubinowitz, who is neither Jewish (he was raised Southern Baptist) nor a cowpoke, is a legend. The singer-songwriter has had a hit record (“Hot Rod Man,” which hit even bigger in Europe) that appeared on a movie soundtrack (“Roadhouse 66”). His bands have sold out nearly every nightclub in the region. His live performances have been hailed by critics as vibrant celebrations of nitty-gritty rock and roll.
Other musicians seek his counsel and engage him to produce their records. But despite the loyal following, Rubinowitz has been frustrated in accomplishing the crossover from local notoriety to national fame. At age 43, it would seem that Rubinowitz’s biological metronome is winding down. But guess what? Rubinowitz, who says he has already had a comeback, followed by a “last-ditch effort,” is gearing up once again.
Arthur Lee Rubinowitz was born in Texas in 1944 to Stanley and Arthurea Rubinowitz. While on his way to becoming a full colonel in the Army, Stanley brought his family – which includes Tex’s younger brother Ben – to the Washington area. They settled into a comfortable house in suburban Springfield, where the four remain together today. Stanley retired from the military, taking a position with the federal government. Arthurea, who was a schoolteacher and later a school principal, began a career with the Fairfax County school system. She eventually retired as an assistant school superintendent.
In 1962, Tex, who was then a student at Lee High School, started playing the guitar. He graduated from Lee in 1963 and attended the University of Southern Mississippi in Hattiesburg for less than a year before returning home. In 1970, he began his career in music, playing small local clubs. “I didn’t know what to do, I just knew I wanted to do it,” he says. He made his first music-related dollar two years later. The Cassaloma Cowboys, Rubinowitz’s first band, performed and recorded from 1975 to 1978; in 1979 he formed Tex Rubinowitz and the Bad Boys, the band that would establish and perpetuate Rubinowitz’s foothold in the music world.
Their singles, “Hot Rod Man” and “Bad Boy”, received airplay on hundreds of progressive and college radio stations around the country. Their live shows consistently drew large audiences; the band set the house record at the defunct Wax Museum nightclub in Washington when some 1400 people (400 more than the legal limit) packed the place.
Rubinowitz’s looks are as memorable as his name. He is tall, somewhere in the 6-foot-3 region, and slender and his dark brown hair has given way to an attractive, if premature, gray. He wears his hair short, with a sweep to the left. During a performance, he sports an authentic slicked-back ducktail that funnels into a long, tubular curl dangling past his forehead. He is generally seen in sunglasses: He forsakes his real-life nerdly Wayfarers for hipper aviator frameson stage. (Behind the glasses is a pair of clear blue eyes.) With his curl and shades in place and his acoustic guitar strapped around his neck, Rubinowitz certainly looks the part of heartfelt rock ‘n’ roller. And when he sings, the judgement is verified. Rubinowitz possesses a natural, deep-bodied baritone that rolls like Appalachian thunder.
Although he does not seem weary or burned out, rock ‘n’ roll has interfered with Rubinowitz’s “normal” life. For instance, rock ‘n’ roll has kept him from getting married: “I’ve been close three or four times,” Rubinowitz says, his clear baritone softening. “I’ve always been a little obsessive about music… But my father didn’t get married until he was in his early 40s.” Then he adds: “To get married I have to get successful in music or get out of it.” What will he do if he gets out of music? “Get a job,” he says quickly and to the point. “Something blue-collar, like work at the Merchant Tire store or something like that.”
“Tex is a painfully honest person,” the article goes on to quote Washington Post consultant Joe Sasfy, and ends by mentioning that Rubinowitz has become interested in acting:
The album is out, the concerts are being lined up and Tex Rubinowitz is once again waiting for the figurative fish to bite. Meanwhile he stays busy building guitars and taking acting classes. “I have no intention of ever using acting,” he says. “The classes are just another way to release myself as an artist.” And though the thought of a stable job may cross his mind once in a while, it is hard to believe Rubinowitz, or anyone who could say this, would ever give up music: “I believe what makes most people feel good about music is still there,” he says. “And that is sort of magic,a magic that happens between people and actually takes place. Pop music is one of the strongest things for pop art. When it really works it really can touch a lot of people and affect a lot of people for the good.“
“Tex” Number Two
Another “Tex” Rubinowitz, according to a German Wikipedia profile, was born Dirk Wesenberg in 1961 in Hannover, Lower Saxony, Germany. This second “Tex”, as featured on the German Wikipedia page – which, when translated into English, makes him “Southwestern” Rubinowitz – is a painter, cartoonist, actor, and musician. Confusing matters, however, is the fact that the IMDb profile for “Tex” Number Two gives his birth name as Arthur Lee Rubinowitz, the same as “Tex” Number One. The Wikipedia profile, as imperfectly rendered in English, reads in part as follows:
Southwestern Rubinowitz spent most of his childhood and schooldays in Lüneburg. After his school leaving in 1978, he worked in various jobs, including as a dairy skilled workers and the district government Lüneburg as support acts. In 1982 he made the Naval Air Wing 2 in Tarp from his military service. During this time he was trained to parachute packer. In 1984, he moved to Vienna, where he study art under Professor Oswald Oberhuber began. He broke this but after a week and started for the moths to draw. Rubinowitz was in the late eighties the fanzineAmerican Hospital newspaper out simultaneously with the more familiar to some of Berlin fanzine Me and my vacuum cleaner appeared. [. . .] By means of a recommendation by Robert Gernhardt came Rubinowitz for Haffmans Verlag in Zurich, where he has two issues of the periodical Der Rabe issued and cooperated with other numbers. [. . .] As an actor he has worked with Kurt Palm and Hermes Phettberg and played 1995 American filmBefore Sunrise a supporting role, which he wrote himself. With Gerhard Potuznik he founded the band mice.
Regardless of where he or they were born or whether or not one or both Rubinowitzes are Jewish or if either had any connection to 9/11, which seems far-fetched to say the least, his/their moniker serves as an interesting onomatological case for those who believe with revisionist historian Michael A. Hoffman II that the shadow government or “Cryptocracy” is “telling you what they’re doing to you” as part of what he has termed the Revelation of the Method. This is the scheme according to which a population that is informed of its manipulation and degradation, but which takes no action to oppose its oppression, has thus been further initiated into enslavement and exponentially subjugated. The question then probably ought not to be who is “Tex” Rubinowitz so much as why was the name “Tex” Rubinowitz selected for the attribution of the B-Thing introduction? What, in other words, is its onomatological significance?
Now for some idle speculation and probably futile cryptographic dot-matix-connection . . .
The Texas reference, in conjunction with the fact of there being two totally different “Tex” Rubinowitzes, recalls the circumstance of the two Oswalds, one of whom is alleged to have shot JFK in Dealey Plaza. To return to the question posed by McClain in the Fairfax Journal piece, “How many Jewish cowboys are there?” A better question might be, “How many Jewish cowboys are there in Texas?” The coincidence and confluence of Texas and Jews is of course as 9/11-resonant as a reference could get, considering the event’s Bush neocon provenance. Could “Tex” Number Two’s tenure as a “dairy skilled worker” refer to Zionist exploitation of gullible goy cattle, perhaps?
“Tex” Number One, who has said that pop music hits people “in a way that they feel they have gained an insight about themselves and about reality“, recorded a rockabilly song called “Hot Rod Man“, in which he threatens he’s “gonna get you if I can“. “Hot Rod”, of course, takes on a different connotation in the context of a discussion of the controlled demolition of the WTC, possibly with its columns dissolved by nanothermite.
Manson – cryptographic 9/11 lynchpin?
In the B-Thing introduction attributed to him, “Tex” Number Two compares the members of Gelatin to the Beatles, which, in combination with the name “Tex” and the musicianship of both Rubinowitzes, evokes a symbological Charles Mansonconnection, in light of singer-songwriter Manson’s association with Charles “Tex” Watson, who forms a part of the Manson Family murder cosmology. Whose “family” was in on 9/11, one has to wonder – and how extended was it? (“The shared genetic elements suggest that members of any Jewish community are related to one another as closely as are fourth or fifth cousins in a large population, which is about 10 times higher than the relationship between two people chosen at random off the streets of New York City,” the Times notes of Ashkenazi Jews.)
Charles “Tex” Watson, in addition to playing an allegedly key role in the notorious Tate-LaBianca murders, is also alleged to have participated in the decapitation of Donald “Shorty” Shea in 1969 – a circumstance that draws an intriguing parallel with still another chapter of the interminable “War on Terror“. When the government-media matrix shifted into high gear with its promotion of the ISIS bogeyman as a pretext for further Middle East military intervention, this peaked with a series of silly videos purporting to show the (off-screen) beheadings of James Foley, Steven Sotloff, and others by an elite terror cell/supergroup of jihadis dubbed “the Beatles” in the media. The star executioner in these turkeys is a rapper, “Jihadi John” (as in Lennon), the plan apparently being to glorify, celebritize, and thereby incentivize jihad in order to intensify “Islamic” State recruitment.
Furthermore, in view of both the striking similarity and the various continuities between the JFK assassination cover-up and the 9/11 psychological warfare regime, Michael A. Hoffman’s remarks on the significance of the Beatles are worth revisiting:
What ought to be unambiguous to any student of mass psychology, is the almost immediate decline of the American people in the wake of this shocking, televised slaughter. There are many indicators of the transformation. Within a year Americans had largely switched from softer-toned, naturally colored cotton clothing to garish-colored artificial polyesters. Popular music became louder, faster and more cacophonous. Drugs appeared for the first time outside the Bohemian subculture ghettos, in the mainstream. Extremes of every kind came into fashion. Revolutions in cognition and behavior were on the horizon, from the Beatles to Charles Manson, from Free Love to LSD.
The killers were not caught, the Warren Commission was a whitewash. There was a sense that the men who ordered the assassination were grinning somewhere over cocktails and out of this, a nearly-psychedelic wonder seized the American population, an awesome shiver before the realization that whoever could kill a president of the United States in broad daylight and get away with it, could get away with anything.
A hidden government behind the visible government of these United States became painfully obvious in a kind of subliminal way and lent an undercurrent of the hallucinogenicto our reality.Welcome to Oz thanks to the men behind Os-wald and Ruby.
There was a transfer of power in the collective group mind the American masses: from the public power of the elected front-man Chief Executive, to an unelected invisible college capable of terminating him with impunity. [. . .]
Dave Marsh writing in Rolling Stone magazine (Feb. 24, 1977): “The Beatles have always had an intimate connection to the JFK assassination. He was shot the week before Thanksgiving 1963. By February 1964, the Beatles were number one in the national charts and the climactic appearance on Ed Sullivan’s TV show occurred. Even Brian Epstein (the manager of the Beatles) believed the Kennedy assassination helped their rise — the Beatles appeared to bind our wounds with their messages of joy and handholding… And the way was paved, replacing Camelot with Oz.”
Now the American people were forced to confront a scary alternative reality, the reality of a shadow government, over which they had neither control or knowledge. The shepherding process was thus accelerated with a vengeance. Avant-garde advertising, music, politics and news would hereafter depict (especially in the electronic media) — sometimes fleetingly, sometimes openly — a “shadow side” of reality, an underground amoral “funhouse” current associated with extreme sex, extreme violence and extreme speed.
The static images of the suit-and-tie talking heads of establishment religion, government, politics and business were subtly shown to be subordinate to the Shadow State, which the American people were gradually getting a bigger glimpse of out of the corner of their collective eye. The interesting function of this phenomenon is that it simultaneously produces both terror and adulation and undercuts any offensive against it among its percipients, which does not possess the same jump-cut speed and funhouse ambiance.
Council on Foreign Relations creature Angelina Jolie directs Unbroken , a.k.a. (as it shalt be known for the purposes of this cinematic exegesis) The Unbroken Passion of G.I. Goy, the Judeo-Christian fable of Olympic athlete Louis Zamperini (Jack O’Connell), his war service to organized Jewry, and his long and not particularly interesting tenure as a P.O.W. Equal parts war movie, survival story, and prison film, The Unbroken Passion of G.I. Goy’s most satisfying passage is the section in which Zamperini and two other survivors of a plane crash are stranded at sea for more than a month in a lifeboat. For the remainder of the film, Zamperini stoically endures forced labor and regular torture at the hands of the Yellow Peril. One might have expected something more engaging (or at least more divertingly offbeat) from screenwriters Joel and Ethan Coen, but what the audience gets is tolerable, if judged by the standards of neocon fodder.
3.5 out of 5 possible stars. Ideological Content Analysis indicates that The Unbroken Passion of G.I. Goy is:
4. Sodomy-ambivalent. Showing their solidarity with the globalist gay agenda, P.O.W.s put on a drag show. A pox on progressive internationalist Angelina Jolie, however, for resorting to the cookie-cutter homosexual villain type in the characterization of Commander Watanabe (Takamasa Ishihara). Shame on her and the Coen brothers for their clearly unreconstructed Hollywood hetero-fascism!
3. Pro-immigration. Zamperini serves as the poster boy immigrant son whose mother still speaks Italian. Bigoted Anglo-Saxon boys pick on him and call him a “wop”, unaware that he will go on to become a war hero and suffer his Unbroken Passion for all of their sins of WASP privilege. Even his underwhelming eighth-place finish in the 5,000 meter race at the Berlin Olympics is treated as an immaculate triumph for America, democracy, and equality, a companion feat to that of fellow diversifier Jesse Owens (Bangalie Keita), and the film actually attempts to give the impression that the crowd in Olympic Stadium is cheering for Zamperini.
2. Ostensibly Christian. Zamperini, initially an agnostic or atheist, is eventually moved by the Spirit to become the personal Jesus of his fellow P.O.W.s. In the triumphant moment of his Unbroken Passion, Zamperini is made to lift a cumbersome beam, the framing unsubtly calling to mind Christ’s bearing of the cross, after which he must stand crucifixion-like with it or be shot by the sadistic Jap-Romans.
1. Pro-war. The opening shot of The Unbroken Passion of G.I. Goy is a dreamscape of clouds accompanied by the singing of a chorus as of angels. Soon the angels materialize as American bombers doing the righteous bidding of FDR’s Yahweh-state. In The Unbroken Passion of G.I. Goy’s most laughable scene, a P.O.W. falls to his knees and weeps on hearing the news that FDR has died. Oh, no! God is dead! Yes, seventy years later, the Jew World Order is still cranking out stupid WW2 propaganda movies – in other words, hardcore porn for folks like the annoyingly coughing old Tea Party type who sat behind this reviewer and commented with a reverent and wistful air during the trailer for Selma that “if they hadn’t killed him, things’d be different today.”
Make no mistake: the tableaux of ruined Jap buildings and bodies is included not to evoke sympathy for the victims of Allied war crimes, but as a warning of what can be expected to befall any Eastern powers attempting to resist the will of ZOG. (Malaysian jet pilots, are you reading this?) The detail that the Japanese have beheaded some prisoners is no doubt intended to engender a subconscious psychological continuity between the viewer’s experience of the still highly marketable “good war” against nationalist Europe and Japan and the current money pit conflict against “ISIS” (Israeli Secret Intelligence Service?).
Determined as the Jews and the military-industrial complex are to resuscitate Cold War tensions with Russia, what could be more appropriate than a reboot of the Jack Ryan spy franchise for the post-9/11 mindfuckorama? Chris Pine stars as the studly economics student who, after witnessing the WTC attack (i.e., the Mossad’s false flag), joins the Marines like a good, obedient little goy and eventually gets recruited by the Central Intelligence Agency and transformed into a super-spook. The clear and present danger this time out is Putin’s plot to crash the American economy with a terror attack on Wall Street. (Not kidding, this condescending crapola is actually the plot.) Ryan’s CIA handler Harper (Kevin Costner, making amends for playing a sympathetic Jim Garrison in JFK) sends him to Moscow to foil Russian businessman and intelligence asset Viktor Cherevin (Kenneth Branagh, who also directs), with events eventually spilling messily back into the United States. Jack Ryan: Too Sexy for His Shirt is suitably tense and action-peppered, a serviceable entry in the espionage genre marred only by its necessarily diametric opposition to truth. In fact, to have some idea of what is actually happening in the world, the viewer need only believe the opposite of every assertion made by this blatant propaganda film.
4 out of 5 stars. Ideological Content Analysis indicates that Jack Ryan: Too Sexy for His Shirt is:
4. Anti-Christian. Russian sleeper agents meet in a church in Michigan. Cherevin lights a candle in a Russian cathedral and vows that “America will bleed” as a men’s choir sings behind him. St. Basil’s Cathedral, meanwhile, “looks like ice cream.”
3. Pro-N.W.O., glamorizing the image of the CIA blot on western civilization. The Agency with its S&M freaks “makes sure we don’t get hit again.” Jack Ryan gets a job at a bank as cover for investigating the secret funding of terrorist networks, but no explanation is given as to why he and the CIA never investigate the put options indicating advance knowledge of 9/11. Instead, Ryan’s pryings lead him to a Russian plot, so that the film misleads its viewers into accepting a false continuity between the al Qaeda terror threat and present tensions with Putin. The only honest connection, of course, is that both have been favorite bogeys in Zionist media hype.
2. Zionist. One scene makes the specifically Jewish grudge against Russia obvious. In a church where Russian conspirators meet, the minister’s sermon includes the following lines from Lamentations: “He has torn down the strongholds of the daughter of Judah. He has brought her kingdom and its princes down to the ground in dishonor.” The Russians presumably see themselves in the God role here in their fiendish intention to humble Israel by thwarting its loyal golem America. Yahweh naturally teaches these presumptuous goyim a lesson, smiting them with the wrath of His righteous CIA counterterrorism.
1. Anti-Russian. Russians, as always in Hollywood movies, are sleazy, dishonest, and brutish. Russia, not America, is the aggressor in all international relations. A Russian diplomat, for instance, attempts to squash the development of a Turkish oil pipeline that would threaten a Russian “monopoly”. Russia is described as “the Wild West”. “They’re still ideologues,” furthermore, “but the new ideology is money.” And more sinister still: “They’re not a country, they’re a corporation.” Unlike good old exceptional America. Positively no corporate mentality here! America is motivated by patriotism! Russians, not Jews, stage geopolitical coups with terror attacks in New York City. And poor little innocent U.S.A. would never wage economic jihad against Russia’s economy. Those dastardly Russians are the only ones who would ever perpetrate a villainous financial Holocaust like that.
Here is a worthy addition to the venerable Apes franchise. Like the original Heston classic, Dawn of the Planet of the Apes is by turns poignant, thought-provoking, and unintentionally humorous in telling the tragic story of what befalls humanity in the wake of its decimation by a simian flu and the resulting collapse of civilization.
What little remains of Bay Area humanity lives together in downtown San Francisco, led by capable ex-soldier Dreyfus (Gary Oldman). The civilizationally ascendant apes, led by intelligent chimpanzee Caesar (Andy Serkis), inhabit the forest surrounding the city, unaware that humans have survived the plague.
When a chance encounter and death bring the two mutually resentful species into conflict, members of both groups believe their continued existence is at risk. At stake in this exciting installment of the franchise is whether peace is possible or full-scale war between the two tribes is an inevitability.
4.5 stars.
[WARNING: POTENTIAL SPOILERS]
Ideological Content Analysis indicates that the symbolism or subtextual resonance of the ape/human relationship in Dawn is variable, changing in meaning from scene to scene, so that a single comprehensive interpretation is impossible. Anecdotal analysis follows, however, yielding the following diagnoses:
4. Multiculturalist. All races live together in harmony in progressive post-collapse San Francisco. The diverse makeup of the human element, including blacks, softens the association that racially insensitive viewers are likely to draw between apes and blacks. That parallel is exploited, however (see no. 3), and the abstract sense that the apes are akin to the teeming anthropoid scatology constituting the world outside the West – and, increasingly, the West itself – is also unavoidable. (cf. no. 1)
3. Anti-gun. With the planet essentially set back to zero, the original sin that disrupts this new potential Eden is not the eating of fruit, but the bearing of arms. Carver (Kirk Acevedo), a character who bears a suspicious resemblance to George Zimmerman and who, given his Anglo name, is presumably supposed to be some kind of “white Hispanic”, sets the plot in motion when he panics and shoots a (no doubt angelic) chimp in the forest. Apes, at first hopeful of peaceful relations, confiscate and destroy a few of the humans’ guns. Carver later disobeys Caesar’s terms of cooperation by sneaking a gun into ape territory, putting a baby chimp in danger and alerting emotionally susceptible moviegoers that the guns in their homes are a multitude of dead baby tragedies waiting to happen.
2. Green. It is man’s energy dependency which brings him into conflict – in this case, with apes – when Dreyfus determines to get a power plant operating again. No alternative energy is available, viewers are told, the implication being that, had America’s government, in its wisdom, been allowed to invest more of its tax booty in clean, green energy alternatives, the humans’ post-apocalyptic plight might have been avoided.
1. Crypto-Zionist. The misleading notion that the American energy appetite – lust for oil, for instance – is responsible for drawing the country into its conflicts abroad only serves to distract from the reality that it is the Israel lobby, not hootin’, hollerin’ Texas oil barons, who have exercised a Svengali-like influence on American foreign policy in recent decades.
More interestingly, the climactic sequence of Dawn of the Planet of the Apes invites an interpretation according to which the humans, led by Dreyfus, are Jews, and the apes are the primitive gentile hordes. As this interpretation would have it, the climax of the movie presents a kind of encrypted dialogue between two competing Zionisms. Some explanation may be necessary for the uninitiated in matters Judaic as to why goyim might be cast as apes. What too few gentiles understand is that Talmud-taught Jews hold non-Jews to be subhuman, their word for a gentile woman, shiksa, meaning an “unclean animal”. The Yiddish slur goyim, furthermore, is used synonymously with “cattle“.
The name of the human leader, Dreyfus, calls to mind the notorious Dreyfus Affair, which, as Jewish history would have it, constitutes one of the most rabid episodes of anti-Semitism in the history of Christendom (practically the entire history of Christianity being a mere buildup to the “Holocaust” if Jewish historian Raul Hilberg is to be believed). The name Dreyfus, then, suggests a Zionist martyr, as do his words and actions in this momentous sequence.
Toward the end of the film, the simian army has taken control of San Francisco, with bloodthirsty ape usurper Koba* (Toby Kebbell) and his followers occupying a downtown tower as headquarters. Dreyfus and his fellow human-Jews, unknown to the ape-gentiles, have planted explosive charges under the tower – a tactic clearly reminiscent of the Israeli Mossad‘s controlled demolition of the Twin Towers on 9/11.
Dreyfus, defending his decision to eradicate the ape-gentiles when fellow human Malcolm (Jason Clarke) expresses his horror and his hope that ape/human reconciliation is still possible, explains that he is detonating the tower in order to save the human race (i.e., Jews). His position, in other words, is that every ape-gentile must die so that Jew-humans might survive. He then proceeds to explode the tower, himself along with it, considering his act of mass murder a selfless martyrdom. The actual result of his action, however, is that full-scale conflict between ape-gentiles and Jew-humans is now a permanent feature of their inextricable histories. Ape-gentiles will always be hostile and on the defensive from now on because the vindictive Jew-humans can “never forget”.
The Jewish screenwriters of Dawn of the Planet of the Apes appear to intend for their film to function both as a symbolic cover-up for the Jews in subliminally excusing them from principal responsibility for America’s wars of intervention – and, for the tuned-in members of the audience, as a warning to the hardcore terrorist Zionist establishment represented by such figures as Adelson, Netanyahu, Silverstein, Chertoff, Zelikow, Kissinger, Zakheim, Krauthammer, Kristol, Perle, and the rest of the Talmudic rats responsible for the Jew World Order under which gentiles are currently dying and suffering unnecessarily. Push too hard, they caution, and you might just give away the game.
*”Koba”, whether coincidentally or not, was the nickname of supposedly anti-Semitic Joseph Stalin (responsible for the “black years” of Soviet Jewry).
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After an overly busy and action-saturated exposition, alleged pedophiliac ringmaster Bryan Singer’s X-Men: Days of Future Past develops into a passable superhero entertainment, with Logan (Hugh Jackman) venturing back to the seventies to try to stop scientist Bolivar Trask (Peter Dinklage) from developing the adaptive Sentinel robots who pose an existential threat to mutant survival in the future. Highlights include a comedic slow-motion bullet-halting set piece and the climactic confrontation in which Logan and Beast (Nicholas Hoult) gang up on renegade Magneto (Michael Fassbender). Jennifer Lawrence, meanwhile, playing the pivotal role of Mystique, will, depending upon the viewer’s tolerance for fetish garb, either be sexy or repulsive in her scaly blue body stocking and slather of greasy red porn hair.
4 out of 5 stars. Ideological Content Analysis indicates that X-Men: Days of Future Past is:
4. Anti-family. Asked if he has children, Logan (Hugh Jackman) answers, “Sure as hell hope not.”
3. Anti-corporatist. At the unveiling of the Sentinels, decorations feature Trask insignia melded with elements of the American flag, suggesting a fusion of government and the defense industry.
2. Feminist. The formidable Mystique kicks or otherwise incapacitates dozens of men throughout the film.
1. Crypto-Zionist. Ostensibly antiwar, Days of Future Past shows its neoconservative streak by having the Sentinel raids on the X-Men occur under the threateningly gloomy skies of Russia and China, two countries currently standing in the way of the Jew World Order. Bodies dumped in a pile evoke the famous images of the Holohoax, while Bolivar Trask’s obsession with experimentation on the mutants so as to find a way to eradicate them recalls the notorious Dr. Josef Mengele’s alleged experiments and Hitler’s supposed “Final Solution” of fumigating the world of Jewry.
The Trask Industries logo, with its angular insignia in a circle against a plain field, vaguely suggests a Nazi banner, and the fact that Trask himself is a midget casts race-conscious gentiles and nationalists as small, abnormal men who overcompensate for their inadequacies by pointing their fingers at those who happen to be a little different. Mutants, like the Ashkenazim, are extraordinarily talented infiltrators who pass as members of a majority they despise and to which they consider themselves superior, a step higher on the evolutionary staircase. Mystique, significantly, is a shapeshifter who, in her mission to save her “people”, insinuates herself into the highest levels of politics so as to subvert and neuter human government from within.
X-Men: Days of Future Past also reveals that, while Magneto has been accused of murdering John F. Kennedy (thus accounting for that legendary “magic bullet”), the helmeted hero was actually trying to save Kennedy’s life because – get this – Kennedy himself was a crypto-mutant! Thus, continuing with the Jewish-mutant parallels, the film seeks to exonerate Israel of any connection with the JFK assassination and paint the president as a tragically fallen friend of the Jews. This would all seem to be designed to distract from the intriguing case made by journalist Michael Collins Piper, author of Final Judgment, to the effect that the Mossad had Kennedy killed because he opposed Israel’s nuclear weapons program.
Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!
More 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.
KMFDM’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 
icareviews 