Archives for posts with tag: Rodney King

Straight Outta Compton

In the opening moment of Straight Outta Compton, the street thug who would one day win fame as Eazy-E is seen retrieving a pistol hidden in a speaker in the trunk of his car. The image perfectly captures the unapologetic essence of Niggaz wit Attitudes, the hip-hop supergroup E would form with Dr. Dre, Ice Cube, DJ Yella, and MC Ren, and which famously made music that packed a nasty and influentially lethal punch. N.W.A. were the founding fathers of gangsta rap, and Straight Outta Compton traces their sordid story from inauspicious ghetto beginnings through celebrity, infighting, dissolution, and Eazy-E’s untimely demise from AIDS. Raw and angry but intelligent lyricist Ice Cube is portrayed in the film by his son, O’Shea Jackson, Jr., while the surprisingly mild-mannered Dr. Dre is played by Corey Hawkins. Jason Mitchell is believably street as the devious Eazy-E, and R. Marcos Taylor is positively savage as brutal Death Row Records kingpin Suge Knight. It is Paul Giamatti, however, who steals the show as the group’s super-sleazy Jewish promoter, Jerry Heller.

4.5 out of 5 stars. Ideological Content Analysis indicates that Straight Outta Compton is:

7. Pro-gay. Two women kiss during a threesome.

6. Sexist! “Life ain’t nothin’ but bitches and money.” Jiggly booties abound.

5. Anti-white. Eazy-E is afraid to tour the South, where rednecks are “waitin’ to lynch niggers”. He therefore insists on taking a machine gun with him on the tour bus. To its dishonor, Straight Outta Compton perpetuates the myth of the unprovoked police attack on Rodney King, thereby pouring more synthetic fuel onto the ongoing black radical agitation of the Obama years.

4. Pro-gun. In one crowd-pleasing scene, the N.W.A. boys grab their gats to scare away a disgruntled cuckold.

3. Pro-drug. The “chronic” reignites Dr. Dre’s genius after a bout of doldrums and rapper’s block. The War on Drugs, furthermore, is a hypocritical and oppressive failure.

2. Libertarian/anti-police. “Fuck tha police!” Racist white cops hassle Ice Cube and call him a “nigger”. “I’m the only gangster around here,” one of them tells him. Others, including one black cop, have the rudeness to slap hamburgers out of the rappers’ hands for no reason. “Fuck the law enforcement community,” Ice Cube challenges those who would censor the group’s message. “We got freedom of speech, man.” Striking a relativistic note, the film opens with a sound montage containing a snippet of Oliver North, reminding the audience of the American deep state’s role in the importation of the cocaine that would come to define the thug life glorified by gangsta rap.

1. Anti-Semitic! Straight Outta Compton does not flinch from the truth that Jews played a decisive role in taking gangsta rap out of the ghetto and thrusting it into white people’s living rooms. Heller appears as a stereotypically seedy and greedy Jewish wheeler-dealer and propagator of cultural degeneracy. In Straight Outta Compton’s funniest scene, Heller throws a fit when he hears Ice Cube’s post-breakup diss track “No Vaseline”, containing the line, “You let a Jew break up my crew.” “I’m callin’ my friends at the JDL!” Heller snarls, referring to the violent Jewish Defense League.

Rainer Chlodwig von Kook

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True Detective Season 2

The second season of HBO’s bleak series True Detective shifts the scene of the sickness from creepy gothic Louisiana to dystopian southern California, a setting with a more strikingly chaotic ethnic mix that lends itself to an exploration of race relations in America. The plot this time around concerns the intertwined lives and fortunes of vicious but decent-hearted gangster Frank Semyon (Vince Vaughn) and tortured and tarnished detective Ray Velcoro (Colin Farrell) and their investigation into the convoluted circumstances of a politician’s death.

Semyon

Vince Vaughn as Frank Semyon

True Detective presents a world of demographic horror, an America in which racial loyalties are nonexistent and fealty of any other kind is hard to come by. Whites, blacks, Mexicans, and Jews are all crooked. Mexicans, while distrustful and destructive of whites, also think nothing of killing each other, while whites, finding themselves marooned in an increasingly hostile and meaningless world, grasp at anything they can get. Race-based tensions nevertheless continue to simmer beneath the surface of several of the characters’ interactions. Semyon is a self-made man and a bigot, a walking contradiction who dislikes the changing demographics of the U.S. and seethes with an angry white man’s discontent but is also and at the same time cynically complicit in the smuggling of illegal aliens into his country.

Semyon is also an anti-Semite and calls Israeli gangster Osip Agronov (Timothy Murphy) a “KGB kike motherfucker”. True Detective is rather daring in identifying the true ethnic character of the “Russian” mafia. The series gives Semyon more than one moment of triumphant crowd-pleasing sadism, and it is significant that one of these is reserved not for one of the Jewish gangsters, but for an especially weaselly specimen of the Shabbos goy, or gentile who sells his treacherous services to the Jewish enemy. Leonard Cohen’s excellent theme song, “Nevermind”, is interesting in this context for featuring the lines “I was not caught, though many tried. / I live among you, well-disguised.”

Velcoro

Fred Ward as Mr. Velcoro

In another scene, Semyon pummels and then pulls out the teeth of a mouthy brown-skinned inferior (Pedro Miguel Arce) – content that serves as vicarious satisfaction for Caucasian viewers fed up with pretending to like their laughingly darkening world. Representing such viewers is Velcoro’s father (Fred Ward), a retired policeman who found he was no longer able to carry out his duties properly with the advent of the fuck-the-police zeitgeist that found its explosive expression in the 1992 L.A. riots. The U.S. as it presently stands is “no country for white men,” he observes as he enjoys a black-and-white Kirk Douglas movie. He is one of two aged policemen in True Detective who remarks that blacks’ intensifying hostility toward police made it increasingly difficult for them to do their jobs.

The audience, one suspects, is expected to feel a mingled contempt and sympathy for this old man who has given up on life and squanders what little of it is left to him getting high and living in a televised, mythologized past. A parallel character is the disgusting, whorish ex-dancer mother (Lolita Davidovich) of highway patrolman and ex-mercenary Paul Woodrugh (Taylor Kitsch). Like old Mr. Velcoro, she prefers the comfort of watching old movies to doing anything productive with her years of decline. Morally and physically decrepit, her narrow, nostalgic tribalism takes the incestuous form of a selfish attachment to her son, who clearly wants nothing to do with her.

True Detective also offers multiple examples of interracial relationships, but none of these is deep, lasting, or free of damaged trust. As one of the season’s other songs suggests, “There’s no future. There’s no past.” – an assessment that could easily apply to America’s multiracial experiment as depicted in these episodes. A feeling of imminent doom pervades not just the lives of the principal characters, but the life of the proposition nation. In one episode, Detective Velcoro visits the set of a cheesy post-apocalyptic action movie – a cartoon version of the American century taking shape around those dumb enough not to notice what has been happening. Indeed, the characters who survive the final episode are those who choose to flee the country – no livable future seemingly being available to them here.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1ZMtwp0

future

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