Archives for posts with tag: Taliban

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.

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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.

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Hood

A cheapo ghetto reimagining of the legend of Robin Hood, Hood stars bullnecked mulatto football prince Matt Singletary – an actor with all the charisma of a dead crack baby – as an “army hero” who, after fighting the Taliban (i.e., guarding the CIA’s heroin crop) in Afghanistan, comes back home to Chicago to find that his old neighborhood is being tyrannized by the Latin Kings. Determined to make a difference in “the community”, Hood becomes a hoodie-cloaked superhero of sorts, venturing out at night to rip off drug dealers and redistribute their ill-gotten gains to the needy. Assisting him in his low-intensity, action-deprived crusade are Father Tuck (Malik Yoba) and Juanito (Richard Esteras), with corrupt Chicago law enforcement taking the place of the Sheriff of Nottingham. Darren Jones is fun as an oily politician, and one wishes that Thea Camara had been given more screen time as the big and spirited Mrs. Fitzwalter; otherwise, not much to recommend this one.

2 out of 5 stars. Ideological Content Analysis indicates that Hood is:

8. Anti-drug. Hard drugs empower evil. Hood does, however, enjoy a beer.

7. Anti-police. The Latin Kings have infiltrated Chicago’s police, and even the honest few are lazy, muffin-gobbling slobs.

6. State-skeptical. Cynical politicians are in league with criminals. “The worse a neighborhood gets, the more funding it gets,” an alderman rationalizes.

5. Pro-military. The Army appears as the ideal venue for multicultural empowerment. Blacks on the battlefield get to be called “sir”, mouth off to white superiors, and demonstrate their superhuman heroism by doing 187s on America’s enemies. Hilariously, Hood’s pathetic EBT-budgeted version of a Taliban fighter is just some bespectacled Jewish-looking guy in a caftan.

4. Immigration-ambivalent. Hood indicates that “new immigrants” (i.e., illegals) are a prime source of recruits for the Latin Kings because “most don’t speak English” and need a place to stay. Despite the national blight this obviously represents, the film appears to want to depict them as exploited victims.

3. Multiculturalist. So as not to create the impression of racial tension between blacks and mestizos, the Latin Kings are shown to have congoid subordinates while Hood receives the support of his Hispanic neighbors. A community center allows the races to come together in fellowship. Hood volunteers there and teaches tai chi to a vibrant set of youngsters.

2. Christian. Hood, his family, and friends are Christians, and Father Tuck keeps it real on the liberation theology tip. He acknowledges sin in the Church, however, when (after mistaking Hood for a pedophile) he says, “Unlike some priests, I don’t take too kindly to strangers putting their hands on little boys.” Hood’s soundtrack even features a little Christian rap, and the film ends with a Mother Teresa quotation.

1. Marxist. Hood and his band of merry diversityites rob not only Latin Kings, but honest businessmen as well. Troubled by the phenomenon of ghetto “food deserts” and apparently oblivious to the fact that these result from black consumer and criminal behavior, Hood and his gang commit a series of food truck heists, threatening “1 truck per week till you open stores in these neighborhoods.” Robbing trucks. Yep, that ought to spur investment in “the community” . . .

Rainer Chlodwig von Kook

Lone_Survivor_poster

Zio-harpy Debbie Schlussel, who has charged that Hollywood Jews are moldering in a “pan-Islamic slumber“, and badgered Jason Alexander about what she alleged were his Islamo-Nazi terrorist connections, was understandably irate with director Peter Berg when he made The Kingdom (2007), a film which, while reinforcing aspects of the War on Terror, made an effort to humanize the typical Saudi citizen.

Half-Jewish Berg, perhaps stung by this questioning of his Zionist bona fides, went on to direct Battleship (2012), an unabashed advertisement for American military recruitment on behalf of the Jew World Order. So as to be absolutely clear as to where he stands geopolitically, Berg even gave an interview to an Israeli journalist to promote Battleship, during which he referred to the possibility of an Iran with nuclear weapons as the most pressing crisis presently facing the planet and called his interviewer a draft dodger for not joining the IDF.

Berg’s most recent contribution to post-9/11 cinema is Lone Survivor, an Afghanistan war horror hailed by Fox News as “a great service to this nation” in its celebration of the goy cannon fodder who put their lives on the line to, as Berg words it, “protect you, to protect me” against “legitimate evil”. The “evil” in the film is jihadist Ahmad Shah (Yousuf Azami), whom Lone Survivor explicitly dubs the “bad guy” for the benefit of the cognitively impaired in the audience. Operation Red Wings deploys Marcus Luttrell (Mark Wahlberg) and his crack team of hardcore Navy SEALs to assassinate Shah, coddle the still-toddling Afghan “democracy”, and so secure the CIA’s investment in Afghanistan’s booming opium crop – though Lone Survivor, naturally, neglects to mention this last point.

Horribly boring exposition introduces viewers to a group of indistinguishable, unshaven, and dull-eyed muscleheads who lounge around and act like boastful frat boys between forays behind enemy lines. Israel’s errand boys, unfortunately, get into a kosher pickle when sent to execute Operation Red Wings. Shah’s Taliban army learns of the SEALs’ location, and when their Raytheon-enriching communications equipment goes on the blink, Marcus and crew are outnumbered and stranded, pinned to a hellish position on the side of a goat-infested mountain.

From this point on, Lone Survivor is almost entirely action, most of it unimaginatively realized, with shaky cam, speed-up/slow-down gimmickry, and first-person shooter POV shots with zombie-like Muslims in the cross-hairs. The characters are unlikable, their “fuck”-sprinkled dialogue doing little to humanize them, and their mission is frankly an unsupportable tyranny, so that one almost longs for the Taliban to win and kill off the American invaders. The film becomes more engrossing once Luttrell is left the last man of his team to continue to make his way to safety, as at this point Lone Survivor shifts from being a war adventure to a more archetypal struggle of one man to survive against hostile odds.

3 out of 5 possible stars. ICA’s advice: watch Rescue Dawn (2006) instead.

Rescue_Dawn_poster

Ideological Content Analysis indicates that Lone Survivor is:

8. Pseudo-Christian. Navy SEAL Mike (Battleship‘s Taylor Kitsch) wears a cross tattoo on one of the arms he uses to kill on command.

7. Pro-miscegenation. End credits feature footage of a white soldier kissing his Asian bride.

6. Cronyist, putting in a good word for more military-industrial pork. “Limited resources, chief. There ain’t enough Apaches.”

5. Pro-drug. Several beers are mentioned as code names for nodes in Operation Red Wings. See, too, remark on opium above. Keep those cattle sappy and happy.

4. Anti-Muslim. Decapitation-happy “Tally” and mascara-wearing “bad guy” Ahmad Shah represents the Muslim menace ably.

3. Pro-military. An opening credits montage of Navy SEALs being trained, which is to say, tortured, to become thoughtless murder machines, essentially serves as a J.W.O. mercenary recruitment commercial. As with Berg’s toy-to-movie adaptation Battleship, the writer-director delights in the idea of plastic American soldiers for Jews to hold under their magnifying lens, watching them melt under foreign suns. A wimpy cover of David Bowie’s song “Heroes” stinks up the end credits photo montage of the men portrayed in the film.

2. Imperialist. The Taliban is a threat to world security, Lone Survivor would have viewers believe, because it promotes fundamentalist Islam, chops off a few heads, and forces its women not to dress like whores. The truth, however, is that many of these are just men trying to keep their country from going the way of the Jewnited States of Slum-merica, with whiny minorities running the show, social engineers and feminist riffraff ripping families apart, and Marxists undermining the cultural pillars supporting traditional ways of life. The neoconservative program, however, calls for Afghanistan to embrace diversity, drugs, pornography, sex reassignment surgery, Sarah Silverman, managerial government, and the drone-patrolled surveillance state – in short, Jewish World Imperium.

1. Zionist/anti-human. Disturbingly, Berg acknowledges that the strength of the book on which Lone Survivor is based is its divorcing of the Afghanistan war from politics, and its celebration of the alleged heroism of the band-of-brothers mentality that sustains its combatants. Lone Survivor, in other words, promotes the utmost nihilism, proposing that viewers should not concern themselves so much with why Taliban fighters must be killed, or why Afghanistan continues to be occupied, but rather with the relentless, Israel-licking devotion with which goy cattle “heroes” commit the mass murder. “You are never out of the fight,” Luttrell says at the end of the film, instilling in the audience the suggestion that America’s crusade against the evildoers, wherever they may dwell, will continue indefinitely.

 

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Ride Along

Ice Cube plays straight man to clownish Kevin Hart in Ride Along, a decent urban action-comedy set in the mean streets of Atlanta, Georgia. School security guard and police force aspirant Ben (Hart) is in love and intends to marry his girlfriend Angela (Tika Sumpter). Unfortunately for him, Angela’s hard-nosed top cop brother James (Cube) thinks Ben is a punk with no potential. Ben hopes that admission into the police academy will change his prospective brother-in-law’s opinion of him, but James is having none of it and decides to take Ben out for a ride along, a training day of sorts, with the intention of scaring the piss out of the weasel and getting him out of his life and away from his sister for good.

Ride Along benefits immensely from stone-faced, masculine Cube’s presence in the driver’s seat, while his smoldering, in-yo-face attitude makes the perfect foil for Hart’s lightweight ridiculousness. The latter’s antics grow on the viewer over the course of the film; but Hart still comes across as something like a poor man’s Chris Tucker, so that one wishes a livelier, more monkey-like, and facially animated performer like Tucker or Marlon Wayans had been cast in the key comic role. Laurence Fishburne collects a paycheck in a smallish part as crime kingpin Omar, while third-billed John Leguizamo (thankfully) has even less screen time.

3.5 of 5 possible stars. Ideological Content Analysis indicates that Ride Along gets extra brownie points for including an Action Jackson reference and that it is:

7. Pro-family. James is fond of his sister and puts Ben through hell only out of a sense of protectiveness.

6. Drug-ambivalent. The morphine pumped into Ben to treat his gunshot wound is played for laughs, and Cheech and Chong are visible on a television screen in another scene. Alcohol, however, is bad news and could prevent a brother from playing basketball.

5. Feminist. Damsel-in-distress Angela frees herself from her bonds and gives some assistance to the boys with her frying pan. She also proves to be a natural at Ben’s first-person shooter game.

4. Neoconservative and anti-Slav. Ben does his part for the War on Terror by fighting the Taliban in his favorite video game. James is out to stop some Serbian gunrunners from providing Omar with the firepower he needs to take over Atlanta.

3. Statist/anti-gun. Ben, demonstrating Hollywood’s contention that the average Joe has no business with a gun in his hand, makes a fool of himself with a shotgun, giving the lie to the pro-gun poster behind him at the firing range. Security at the range is overly lax and Ben walks out with one of their guns. James, presumably the sort of government agent who, in Ride Along‘s view, should have the benevolently despotic monopoly on firearms, does his badge proud by engaging in a bit of glorified police brutality, slamming a shopkeeper’s head into a counter for no good reason.

2. Anti-police. Half the Atlanta police force is crooked, which would seem to conflict with the message intimated in no. 3.

1. Black supremacist. “I’m the brains. You’re the brawns,” James informs two fellow officers. White kids are a bad influence on an impressionable black youth, who could easily grow up to be a wino just by hanging out with them, Ben admonishes.

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