Archives for posts with tag: war
fta

“The show the Pentagon couldn’t stop!” Sure …

I have previously discussed the dubious “anti-war” credentials of countercultural figures Donald Sutherland and Jane Fonda, who played the part of rebellious hippies within the Hollywood elite. No film better encapsulates their fraud or the fabricated nature of the corporate counterculture than Francine Schoenholtz’s ridiculous 1972 documentary FTA, which stands for “Fuck the Army”. The film follows Fonda, Sutherland, and other performers as they tour Japan and the Philippines, performing unfunny comedy routines and hokey protest songs for American servicemen. Schoenholtz’s previous work included a 1966 series of one-hour plays for PBS called Jews and History – and FTA itself and the culture creation it represents comprise a singular Jewish contribution to American military and pop-cultural history.

The film is as much a promotion of subversion as it is a polemic against the war in Vietnam. The poster, boasting its image of a stoned Donald Sutherland, is an undisguised attempt to associate anti-war activism with drug culture, and much of FTA is devoted to glorifying communism, feminism, vulgarity, bad grooming, and loutish black militancy, with the U.S. characterized as a racist society perpetrating genocide against both the Vietnamese and American blacks. FTA’s pose of revolutionism notwithstanding, is the audience really expected to believe that this troupe of anti-American undesirables would have been allowed anywhere near U.S. military bases overseas unless the production had at least the tacit approval of powerful persons within the American government? Would U.S. Army and Navy personnel be permitted to participate in the production of a film if it authentically sought, as FTA pretends, to goad soldiers into turning their guns against their leaders? It was during the week of the film’s premiere in July of 1972 that Fonda, just to present the anti-war movement in the worst possible light, notoriously visited Hanoi and posed for a photo with a North Vietnamese anti-aircraft gun.

Producing and completing post-production on FTA was Igo Kantor, who tells the story of his involvement in the project in an interview he granted for the DVD release of the stupid woman vigilante movie Alley Cat (1984). He remembers that “Technicolor came to me and they said they would like to do a show on Jane Fonda going with a group of people, the FTA group, musical group, all over the Pacific Rim, all of Vietnam, all those countries, and do a show about the counter [to] the Bob Hope Christmas shows,” which were being produced by NBC, then owned by the defense contractor RCA. “The Bob Hope Christmas shows were dignifying the war movement because he was performing for the troops all over, every Christmas he’d go to one of these towns where the war took place and he would have shows – and I was the editor on the Bob Hope Christmas shows for six years. […] But then Technicolor said Jane Fonda would like to do a show to counteract that. Instead of heroining the war, let’s be pro-peace,” Kantor recounts, smiling sardonically.

That RCA would produce television programming “dignifying the war movement” is hardly surprising; but that Technicolor, a subsidiary of the defense contractor Thomson-CSF, would approach Kantor to produce a radical “pro-peace” hippie extravaganza, even hiring the same editor, is more interesting. “So she [i.e., Jane Fonda] went [to Vietnam] and the amazing thing is, here I was working in this building on Highland Avenue [in Los Angeles] and Jane Fonda, I gave her an office upstairs, and she and Don Sutherland were together at that time […] and Bob Hope had an office downstairs, and Bob Hope knew about this and he says, ‘Igo, what’s going on here, what, you’re working on my show, which is pro-war, and you’re working another show that’s anti-war?’ I said, ‘Don’t worry, I will not mix the footages. They’ll not be the same show, don’t worry about it.’ And sometimes,” Kantor remembers, bemused, “they used to go up and down the stairs and throw darts at each other. Bob Hope and Jane Fonda were, my God, crazy.” So, by Kantor’s own admission, the entertainment industry’s representative pro-war and anti-war exemplars were literally working out of the same building and frolicking on the stairs and enjoying hijinks – but that was surely just a coincidence – right?

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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obama-drowning-pool

Obama poses with Drowning Pool.

As technology has advanced the delivery of music from live performance to radio, tape, disc, and mp3, pop product has played an increasingly personal part for the typical soldier fighting America’s imperial wars. “Music has become a significant source of combat inspiration for American soldiers in Iraq,” argues composer Jonathan Pieslak, who cites interviews with military personnel in an essay he published in 2010, before the U.S. announced an ostensible end to that country’s occupation. “The relationship between music and soldier life seems more intimate in this war since new technology allows music to be a part of soldiers’ lives on and off the battlefield in unprecedented ways.”1

Unsurprisingly, the metal genre – with a tradition of war-themed lyrics dating from tracks like Black Sabbath’s “War Pigs” and Iron Maiden’s “Aces High” – has proven to be a favorite among troops preparing themselves psychologically for the task of committing officially sanctioned mass murder. Pieslak points out that in the documentary Soundtrack to War, “multiple soldiers make the analogy that ‘war itself is heavy metal,’ and, in fact, the original version of Gittoes’ documentary was titled, War Is Heavy Metal.”2 Pieslak offers further gleanings from his series of interviews:

Almost all of the metal songs selected by soldiers as an inspiration for combat involve themes of chaos. A favorite album among soldiers is Slayer’s Reign in Blood (1986), which is often credited as being the seminal album of the death metal subgenre. Another popular band is Metallica; their song “One”, about a WWI soldier who survives a land mine explosion in which he loses his limbs, sight, hearing, and speech, was played frequently by [interviewee] Grisham during the initial invasion of Iraq. Drowning Pool’s “Bodies” is another popular song with its repeated refrain, “Let the bodies hit the floor.” In this case, however, the meaning of the lyrics has taken a different form from the original intent. Drowning Pool claim that the refrain refers to the audience “hitting the floor” of the “mosh pit” at a concert, not bodies falling to the ground from acts of violence. When these themes of chaos are combined with the notions of power inscribed in the metal sound, they provide a highly influential tool for soldiers as they prepare for combat.3

“While the power element of metal is manifest in a variety of ways within the music,” Pieslak explains, “it operates, not as a dominating force over the fan, but as an empowering agent.”4 “Music is a means of establishing the identity of the group,” he adds, “and supports the feeling of togetherness through a ritualized musical experience”5 – which is intriguing in view of the fact that more than one of the soldiers interviewed used “predator” as an adjective to describe their comrades’ musical preference6.

Interviewees describe rituals in which soldiers would gather prior to combat to listen to metal or rap together and chant or shout out the lines of a song as a group. “The tendency of soldiers to come together around music, and to sing or yell the lyrics together,” Pieslak suggests, “seems to have precedence in aspects of BCT [i.e., basic combat training].”7 Training regimes which require the men to collectively sing a set of responses to the prompts of a drill instructor develop camaraderie in the unit but also condition in them a repertoire of programmed behaviors and teach obedience to a superior’s will.

An abdication of the self and of humanity is acknowledged by more than one of the soldiers who spoke to Pieslak:

Grisham highlights the music’s power to […] make them capable of “inhuman” acts. In these instances, the music could be said to have a transformative power that removes the humanity element from human identity. Other soldiers said that metal and rap music had similar effects, to varying degrees, on their experiences as an inspiration for combat. Saunders believes that “War is people having to step outside of themselves. It is you having to become what I consider to be a monster.”8

It is also a possibility that metal, owing to the abrasive sonic palette reflected in the genre’s moniker, has contributed to a readiness on the part of men to find aesthetically pleasing elements in the bombastic cacophony of combat itself. A machine gunner, Specialist Colby Buzzell, told Pieslak that “the explosions and the machine guns, and the shooting that’s going on, that’s the music. It’s kind of like listening to Slayer, like that sort of shit. Listening to a two-forty fire off rounds, or a TOW [i.e., tube-launched, optically tracked, wire-guided] missile hit something, that’s music to your ears, kind of.”9 It comes to constitute, if readers will forgive the reference, a veritable “Symphony of Destruction”. Megadeth, however, it is worthwhile to remember, warned that “Just like the Pied Piper / led rats through the streets / We dance like marionettes” while “Acting like a robot” whose “metal brain corrodes”. Indeed, Drowning Pool’s album Sinner, from which the Iraq occupation forces’ favorite “Bodies” was lifted, was released by a record label called “Wind-Up” – referring, one assumes, to mechanical toys.

Rainer Chlodwig von K.

Endnotes

  1. Pieslak, Jonathan. “Music as an Inspiration for Combat among American Soldiers in Iraq”, in George Kassimeris and John Buckley, Eds. The Ashgate Research Companion to Modern Warfare. Burlington, VT: Ashgate Publishing Company, 2010, p. 386.
  2. Ibid., p. 390.
  3. Ibid., p. 395.
  4. Ibid.
  5. Ibid., p. 392.
  6. Ibid., pp. 389-390.
  7. Ibid., p. 393.
  8. Ibid., p. 396.
  9. Ibid., p. 394.

The goofy espionage thriller The Sum of All Fears (2002), adapted from one of Tom Clancy’s Jack Ryan novels, contains a speech by its principal villain, the elite crypto-Hitlerite terrorist mastermind Dressler (Alan Bates), which says a great deal about the burgeoning threat to their communications hegemony which some forward-looking Jews recognized in the then-recent explosion of the internet into public life. Recording his motives for posterity, Dressler simpers into a video camera:

Most people believe the twentieth century was defined by the death struggle of communism versus capitalism, and fascism was but a hiccup. Today we know better. Communism was a fool’s errand. The followers of Marx [are] gone from this earth, but the followers of Hitler abound and thrive. Hitler, however, had one great disadvantage. He lived in a time when fascism, like a virus – like the AIDS virus – needed a strong host in order to spread. Germany was that host. But strong as it was, Germany could not prevail. The world was too big. Fortunately, the world has changed. Global communications, cable TV, the internet. Today the world is smaller, and the virus does not need a strong host in order to spread. The virus is airborne. One more thing: let no man call us crazy. They called Hitler crazy, but Hitler wasn’t crazy. He was stupid. You don’t fight Russia and America; you get Russia and America to fight each other – and destroy each other.

Alan Bates Sum of All Fears

Alan Bates as Dressler

Dressler’s speech, while it contains much stupidity, also reveals the revolutionary potentials represented by the internet in its undermining of the long quasi-monopoly enjoyed by Jewish and Zionist entertainment and the dissemination of the “news”. By removing the Jewish screen, thereby democratizing mass telecommunications, Europeans are now able to spread unmediated information to each other on a free and instantaneous basis.

The Sum of All Fears, with its hokey yarn about a neo-Nazi plot to explode a nuclear bomb at a football game and initiate a war between the United States and the former Soviet Union, perpetuates the notion that Hitler intended to conquer “the world” and that nationalists of any and every stripe, from European parliamentary presences to prison gangs, threaten to plunge the planet back into worldwide chaos with “weapons of mass destruction” if not held in check and kept under a scrupulous surveillance by the great, patriotic bunch of Americans staffing the Central Intelligence Agency. With his history of peddling junk like this, should it come as any surprise that Sum of All Fears producer Mace Neufeld was honored by the Israel Film Festival with a Lifetime Achievement Award in 2014?

To the extent that nationalism or identitarianism, and not the Jews themselves, can be accurately characterized as a parasitic “virus” occupying a “host”, the script does identify an undeniable truth: the virus can no longer be contained, and Aryan Skynet has definitely gone live. Just listen to these two Jews whimpering like trapped rats:

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/1QByNdv

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SEVENTEEN

Maleficent

After decades of speculation about her actual physical form, Angelina Jolie appears without makeup or airbrushing software in Oy Gevalt Disney’s Maleficent. For years her horns and razor-sharp cheekbones have remained hidden, digitally erased through the wonders of CGI; but now the moviegoing public can finally see for themselves what a witch Brad Pitt pledged to fuck on a regular basis in exchange for worldly celebrity in a Luciferian pact with the Globalist Nazi Illuminati Council on Foreign Relations.

[WARNING: SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Maleficent is:

5. Globalist. Rival realms are united after the death of a king (Sharlto Copley). War will be obviated by the erasure of national borders.

4. Multiculturalist. Disney managed to dig up a few medieval European blacks for extras.

3. Pro-gay. Only “true love’s kiss” can awaken Aurora (Elle Fanning) from her slumber. Of course, Maleficent’s creepy lip-squish does the trick. “I’m going to live here in the moors with you,” Aurora has said earlier. “Then we can look after each other.” Maleficent teaches little girls that men, and especially white men, are not to be trusted unless weak and dim-witted. “Fairies” are the good characters, whereas men are evil.

2. Misandrist. The only positively depicted males are an apparently lobotomized prince (Brenton Thwaites) and a shapeshifting furry omega (Sam Riley). In a kid-safe evocation of “rape culture”, Maleficent is drugged on a date of sorts and has her wings clipped while she sleeps. Armies of senselessly violent (and mostly white) males rampage over the countryside, hell-bent on oppressing women and diverse magical creature populations.

1. Cultural-Marxist. Up is down and down is up. A hideous monster in the fantasy world of this movie is “classically handsome”. Maleficent, described as “both hero and villain”, purports to be “strongest of the fairies”, but anybody with a preschool education knows a being with horns growing out of its head is called a devil. This is one of myriad movies in which the traditional symbols of evil, as in Little Nicky and Dracula Untold, have been transformed into sympathetic characters – a process discussed at greater length 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/1PxcJG1

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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