Savage Hippie Episode 43 – Is Moldylocks Actually Marine Le Pen’s Daughter?

me_ann_david_zardoz

The Savage Hippie podcast got its first bit of negative press from a certain David Yorkshire – more like David DORKshire if you ask me! – of Mjornir Magazine in his piece, which though talking about Jews in general, used the Savage Hippie podcast – well, me specifically – as a springboard into his greater truths. I’m flattered to be considered such a master manipulator of my co-host Ann Sterzinger and to be put in a class alongside Ezra Levant, but honestly, I wish the criticism came from the left, not from the far right. And, NO, I don’t prescribe to “horse shoe theory.” Strangely David Cole only gets mentioned once in the piece and doesn’t even get tagged at the bottom.

All of that would be fine, but then I read his piece titled “Why Johnny Rotten Can Go Fuck Himself”, in which he claims that John Lydon and punk rock in general “was essentially a perversion of pub rock for middle-class Leftists”, and I got mad.

Ugh, Dorkshire fucking calls the Who, Sensational Alex Harvey Band, Captain Beefheart and Slade PUB ROCK. Is he out of his fucking mind? Captain Beefeart – born Don Van Vliet – was a frienemy of Frank Zappa’s and played a mind-boggling mix of free jazz and electric blues, as evidenced in his pair of masterpieces Trout Mask Replica and Lick My Decals Off, Baby, and he’s fucking AMERICAN, you idiot. Pub Rock was an explicitly British phenomenon, mixing elements of 70s boogie rock and rockabilly. Slade and Alex Harvey were big time glam rockers who didn’t come close to the pubs of the mid-70s, and, if you consider the Who pub rock, please stop talking about rock ‘n’ roll altogether.

Here, Dave Dorkshire, I’ll throw you a bone; the 101ers – who featured a pre-punk Joe Strummer on guitar and vocals – Eddie and the Hot Rods, Ducks Deluxe, Kilburn and the High Roads, Ian Dury and the Blockheads, Dr. Feelgood and Bazooka Joe – who featured a pre-punk Adam Ant on bass – are fucking PUB ROCK. A couple of early punk bands like the Stranglers and the Vibrators also began as pub rock, so there’s that.

Also, the Sex Pistols wrote all their own songs, both guitarist Steve Jones and drummer Paul Cook were more than adequate at their respective instruments and Lydon, Vicious and most other punk rockers wore swastikas to go with the cowboys with touching knobs and hammers and sickles, so blow it out yer arse!

Aaaanyway… David was supposed to show up, but some crisis occurred which we found about later, hence our jokey attitudes. But fuggit; we persevered. Like the retard that I am, I put the climax of the show right in the middle; the climax of course being a story in which Ann describes her horrifying experience in the French city of Marseille at the hands of Muslim invaderrr…. immigrants. The rest of the show is filled with stupid jokes about Moldylocks secretly being the daughter of Marine Le Pen, us bitching about how Baby Boombers pissed away Western civilization and dick jokes involving some of youtube’s hottest “traditionalist” and “nationalist” broads.

For Sounds of Marshabaloosh, we play the Orchestral Manoeuvres in the Dark song “Joan of Arc” as an homage to France’s last hope Marine Le Pen.

Art this time was supplied by friend and fan of the show Ismael A. Schonhorst, and the song at the end is, as expected, “The Diet Has Failed” by the Yesticles.

Savage Hippie Episode 42 – I’m Not a Neocon, Bombs Just Make Me Wet

me_ann_david_protesters_4.0

I know, this latest episode is only 67 minutes long.

But Edgar G. Ulmer’s 1934 horror classic The Black Cat with Bela Lugosi is only 66 minutes long!

And I KNOW, this episode doesn’t have David in it.

But again Edgar G. Ulmer’s 1934 horror classic The Black Cat with Bela Lugosi ALSO didn’t have David in it!

Ann had a rough week, so we banged out this episode the best we could, and I think we still did good a job in spite the episode’s brevity. The information about us not going into Syria is a week old, but ya know what? Unless you’re a hardcore AltRighter who shouts “cuck” at any provocation, the fact is that we’re back to where we were before Syria. That is: with Trump rallies getting disrupted by Soros backed Antifas and other leftist riff raff, and the cultural civil war that’s fun to watch unfolding online.

So, as far as I’m concerned, shit is back to normal.

But yes, we discuss the potential – and now nearly annulled – split among Trump’s base, hate crime hoaxes, how neoconservative women get wet by watching shit blow up, the creeping nearly Islamic puritanism seeping into the AltRight, our usual detour into talking about punk rock that most people don’t care about, It’s a Wonderful Life and thigh gaps, which in spite my cavalier tone really ARE the best thing ever.

Speaking of punk rock, this week’s Sounds of Marshabaloosh features none other than the Meatmen with their song “KKK (Kill Kunt Koulter).” The Meatmen hold a personal place in my rectum, having been a fan since I was like 15 and coming from the Midwest, I identify with their brand of un-PC comedy rock; Ann apparently likes ’em too, weee! Although, since I LIKE Ann Coulter, Ann and I discuss the song and how, if Tesco Vee wrote the same kinds of lyrics about say, Rachel Maddow, the Meatmen would have an army of feminist harpies coming after them. Listen to the “KKK” by the Meatmen here.

I did the artwork. Lazy, you call it? Blow me, I sampled Clayton V’s work the way rappers sample other artists’ music. And of course the song at the end is “The Diet Has Failed” by the Yesticles.

Ten Things I Will Always Find Funny About Old Movies

dvdsA couple days ago, I once again enjoyed Howard Hawks’ 1959 western Rio Bravo, in which John Wayne plays sheriff John T. Chance, who is trying to keep a gang of thugs from running roughshod all over his dinky little town, while only having help from an alcoholic named Dude played by Dean Martin and a cripple named Stumpy played by Walter Brennan. There’s so much to like about the movie; the budding romance between an awkward and possibly virginal John T. Chance and the super hot gambling huckster babe Feathers (Angela Dickinson); Dean Martin’s struggle with the bottle; the comic relief from Stumpy; the gun slinging action; baby faced Ricky Nelson proving his chops to the older guys… what a GREAT movie, right?

Well, yeah, except if you’re not used to watching these kinds of movies. For one thing, at two hours and twenty minutes, Rio Bravo doesn’t exactly BREEZE by. On top of that, for being a western, it’s actually pretty low on action. It’s a CHARACTER driven movie, rather than one based upon a lot of fast paced gun play. Thirdly, I can picture young people finding Ricky Nelson incredibly annoying with his “yes sir”/”no sir”/”gee wiz sir” persona. Okay he doesn’t say “gee wiz”, but he does look like an overly wholesome little boy, not a rough and tumble gunslinger. And fourth, you have to suspend your disbelief since nobody bleeds when they get shot, and John Wayne gets knocked out rather easily when he trips over some wire. I’ll talk about those below, but my point is that, unless someone regularly watches old films and is used to suspending his or her disbelief, which is what audiences had to do before better special effects were created, a movie like Rio Bravo might seem dated and downright silly.

So, the other day, I read an article from LA Weekly called “Stop Laughing At Old Movies, You $@%&ing Hipsters” in which the author complained that hipsters laugh at old movies because of the hammy acting, outdated special effects and cheap set designs. While, in principle, I agree this is a stupid thing to do, especially if you shelled out the money for the movie in the first place, I also feel that the author was using the wrong movie with which to make her point.

She had attended a screening of Mario Bavo’s 1961 fantasy epic Hercules in the Haunted World, for which the theater provided a 23-piece orchestra and nine singers to accompany the soundtrack. What the fuck for? Hercules in the Haunted World is one of hundreds of Italian peplum films that came out in the late 50s though the early 60s; sword and sandal adventure epics where shaved and greased down, half naked body builders of questionable acting ability fight atop foam rocks and coliseum backdrops either in historical reenactments or purely fantastical plots against giant puppets or stop motion monsters while attempting to save unbelievably gorgeous women, who are most likely supermodels, not professional actresses. Do you see where I’m going with this? Hercules in the Haunted World is not exactly high art. So the fact that people laughed at the melodrama, cheesy special effects or the fake looking sets is NOT necessarily because of their philistinism, but possibly because the movie was legitimately funny at times.

That doesn’t mean it’s not enjoyable, but COME ON. Some things just DO NOT age well. And considering the other examples of films the author gave- 2001: A Space Odyssey, The Godfather, The Texas Chainsaw Massacre, The Shining, The Exorcist – it make me wonder if she’s not talking out of her ass or just happened to be in the theater on a particularly bad day. So I decided to give the “hipsters” the benefit of the doubt and compile a list of items from old movies which will always evoke at least a smirk out of me, if not outright laughter. Lighten up guys, they’re just movies.

1.) When people get knocked out cold by a single, ineffectual hit

Either people were much weaker in the past, or people used to hit a lot harder, but it’s funny to note how easily people can just get knocked out in old movies. I’ve taken the kinds of hits and spills that have knocked out some of the characters in these old movies and not gotten knocked out; am I then to believe that I’m tougher than John Wayne? Case in point; Rio Bravo. The nogoodniks in the film stretch a string across the base of a stairway, John Wayne goes running down it, crashes to the ground and is out like a light. Now, that’s just ridiculous; I’ve actually drunkenly tumbled down concrete stairs and stood up unaffected. Scott Rosendall, my wheelchair confined buddy, went speeding down a flight of stairs, sat up and crawled into his awaiting wheelchair. Is wheelchair using Scott Rosendall then tougher than John Wayne? Another example that immediately comes to mind is when the monster in The Thing from Another World (1951) pushed the scientist over, and he was out cold. Seriously, the monster just pushed him, and he was out. If people got knocked out just from being pushed, then every single mosh pit would quickly turn into a mountain of unconscious bodies laying one atop another.

2.) When people get shot, but don’t bleed

Howard Hawks’ 1932 gangster classic Scarface, which stars Paul Muni as a prohibition era liquor peddling thug named Tony Comanti, was once considered one of the most violent movies of all time. But how violent is a movie where nobody expels any actual blood? We see lots of smoking guns and people clutching their chests and/or bellies either out of pain or to hide the fact that there is no actual bullet hole, but NOBODY BLEEDS!!! Now, in old fashion Westerns, this is somewhat excusable considering that cowboys were using pea shooters that often couldn’t even break skin, but for cryin’ out loud, these gangsters are using TOMMY GUNS to fill rival gangsters and the occasional innocent bystander full of holes. What’s even more problematic is that this wasn’t fully alleviated until WELL into the 60s. Although Hammer studios introduce blood and gore via Dracula (known as Horror of Dracula in North America) to the big screen and a surprising amount of it considering it came out in 1958, and Hitchcock’s Psycho had “blood” in the form of chocolate syrup going down a shower drain during the infamous Janet Leigh stabbing scene, and John Ford’s 1962 western The Man Who Shot Liberty Valance showed a tiny bit of blood dripping from John Wayne’s arm, Sergio Leone’s 1964 western A Fistful of Dollars had a scene where some banditos disguised as Union soldiers gun down a bunch of Mexican soldiers, and NONE of the Mexican soldiers bleeds a single drop. Thank God for the invention of the squib!

3.) When monsters can do nothing but push or throw people

In real life, if you pick up a little girl and throw her into your local pond, and she drowns, you’re one sadistic son of a bitch! However, if you do the same thing in a movie, such as the 1931 classic Frankenstein, you’re pretty much stretching the boundaries for the amount of violence you’re allowed to inflict on other people on a movie screen. Wait, no, there is the part where Dr. Frankenstein’s assistant Fritz is found hanging on a noose, but in general, the movie monsters couldn’t really DO anything, and you had to REALLY use your imagination. Probably the most annoying culprit is the creature in Creature from the Black Lagoon. It screeches, it stomps around, it kidnaps the girl, it pushes people and well, it pushes more people. Hey, did you see that super crazy, violent horror movie where the monster pushes people? Okay, old horror movies did have some surprisingly grizzly scenes – the human head hunting trophies in The Most Dangerous Game, the scene where Bela Lugosi skins Boris Karloff alive in The Black Cat, the scene at the end of Island of Lost Souls where the mutants revolt and mutilate Charles Laughton with surgical tools, the scene in Freaks where we see Olga after she’s been turned into a duck woman – but none of the actual violence happens ON screen; one noteworthy exception is in the 1933 British horror film The Ghoul, where a corpse played by Boris Karloff carves an ankh into his chest with a knife, and I suppose you can count the scene in King Kong when the gorilla steps on a baby’s head, but these are the exception. Do we get to SEE the werewolf in Werewolf of London or The Wolf Man mutilate people? Did we actually SEE Count Dracula suck anyone’s blood? Of course not (at least not until Terence Fisher’s 1958 adaptation of Dracula); we have to pretend these monsters are hurting people! One point of interest is that, in 1938, when Frankenstein had a theatrical re-release (on a triple bill with Dracula and Son of Kong), censors in various cities snipped the part where the monster throws the girl into the water, cutting right as the monster leans in on her and grins, unintentionally implying something far more sinister than what actually took place in the excised footage.

4.) When people replace swear words with words that you hear in kids cartoons

Imagine you’re watching a detective or gangster picture, and a character gets really angry, and he says, “you better watch it, buster!” BUSTER? Did people actually say BUSTER back then? Not even “you bastard”, but “BUSTER”?! Somehow seeing Sam Spade or Philip Marlowe or Mike Hammer or Little Ceasar Rico or Tom Powers or whoever else say “buster” just doesn’t make them seem as bad ass as they once seemed. And everyone knows that, when people think of “bad ass”, they think of an adorable, diminutive  Jewish man named Edward G. Robinson.

5.) Any black actor prior to Sidney Poitier, Woody Strode or that one guy in Stanley Kubrick’s The Killing

In the 1950s, liberal directors of the era all of a suddenly began casting blacks in relatively respectable roles. When I say blacks, I mean Sidney Poitier, Woody Strode and that one guy that was in Stanley Kubrick’s The Killing; and by “respectable”, I mean you’re supposed to feel bad for that guy – okay, fine, his name is James Edwards, and he was in such noteworthy films as Robert Wise’s The Set-Up (1949) and Samuel Fuller’s The Steel Helmet (1951) – when Timothy Carey tells him, “you’re wrong, nigger.” But before that, hooo boy… You don’t want to laugh because you’ll be looked at as an asshole, but hey, back then the roles given to black actors weren’t exactly the most empowering, talking like completely illiterate, recently freed slaves with their “suh, suh, I’s dint know, suh suh.” To be fair, Clarence Muse, the coach driver in the 1932 horror film White Zombieand I guess he was in a bunch of other stuff, like the b-picture Invisible Ghost (1941) and Fritz Lang’s Scarlet Street (1945) –  wasn’t too, how shall I say it… well, he shouts, “ZOMBIES!!!”, not “SUH! SUH! I SEES ZOMBIES, SUH!!!” However the same can’t be said for Mantan Moreland in King of the Zombies (1941) or Napoleon Simpson in  The Mummy’s Curse (1944). Oh, and check out the hilarious maid roles played by Butterfly McQueen in Gone with the Wind (1939), Mildred Pierce (1945) and many others. Quoth McQueen: “I didn’t mind playing a maid the first time, because I thought that was how you got into the business. But after I did the same thing over and over, I resented it. I didn’t mind being funny, but I didn’t like being stupid.”

6.) All white people pretending to be non-white people

I’m definitely going to hell for this one… from Walter Long as the freed slave Gus in Birth of a Nation to Al Jolson in The Jazz Singer to Boris Karloff’s portrayal of the “yellow menace” Fu Manchu in The Mask of Fu Manchu to Mickey Rooney in Breakfast at Tiffany’s to all of the Spaniards and Italians who played Indians in John Ford’s Cheyenne Autumn… in our modern times, it’s seen as ugly, tacky, grotesque and unpleasant the way many a white actor has portrayed blacks, Asians, Americans Indians and even Arabs – Stanley Donen’s 1965 film Arabesque f’rinstance –  but the clumsy and ham-fisted delivery of these characters causes me to giggle, and to suppress your laughter in the face of political correctness is to die a slow death.

7.) When people act overly scared by stuff that isn’t very scary

Once again, to be fair, one could say this about the majority of old horror films. However, sometimes  an actor or actress’s delivery is so melodramatic, and the fear he or she evinces is so over the top when compared to what he or she is experiencing in the movie, that it becomes comical. The funniest example off the top of my head is the woman shrieking as though she’s being raped as a puppet skeleton approaches her in William Castle’s 1959 schlock fest House on Haunted Hill.

8.) People in rubber monster costumes destroying miniature cities

Everyone who knows about Godzilla knows that each Godzilla movie got progressively sillier, as Godzilla himself went from being a symbol of atomic horror to a downright adorable, lovable dinosaur that, in spite destroying entire cities, had a buddy in the form of a ten year old boy in Godzilla’s Revenge (1969). But even in the original 1954 Gojira, the one where it’s a straight up horror movie without any of the cutesiness, he’s still just a guy in a suit throwing around toy cars and walking over miniature model cities between cuts of freaked out Tokyo citizens. And let’s face it; in a lot of these films, the buildings just look like milk cartons with squares painted on them. In the case of the 1962 Swedish monster film Reptilicus, a miniature monster destroys other miniatures and, since no rear screen projection is even used to put people on screen with the monster, the film ends up looking like a glorified puppet show.

9.) Scrolling backgrounds you see from car windows

Driving sequences in old movies just don’t look very realistic, ya know?

10.) REALLY vague allusions to sex 

The film noir pot boiler Kiss Me Deadly, adapted from the Mickey Spillane novel of the same name, directed by Robert Aldrich and starring Ralph Meeker as the sleazy private dick Mike Hammer, is a remarkably modern, unflinchingly violent and hard edged film for something that came out in 1955; the torture sequence alone is rather chilling. Yet even it suffered from the censorious confines of the era in which it was conceived. It’s remarkable how intimidating both Meeker and the underworld thugs he encounters can be in spite nary a single cuss word being uttered. But what I found rather odd was how, when Hammer spoke with his lovely secretary Velda (Maxine Cooper), he asked her, “did you date him?” This is code for, “did you seduce him and/or sleep with him in order to snag him in an extramarital affair?” Now, come on, he asks her “did you date him?” She could just as easily say, “Yep! We went to the movies last night, and it was great!” At least that’s how I would have interpreted such a question. Another example of this type of vague sexual allusion is in Fritz Lang’s 1952 drama Clash by Night, in which Jerry D’Amato(Paul Douglas) finds out that his wife Mae (Barbra Stanwyck) had been cheating on him with Robert Ryan’s character Earl Pfeiffer. The line they used to reveal this was, “we spent all afternoon together.” WE SPENT ALL AFTERNOON TOGETHER?! Doing what? Playing cards? Watching TV? Picking our bellybutton lint? We’re just supposed to KNOW that when a man and a woman spend the afternoon together – not the NIGHT, mind you – they were necessarily fucking?!

Savage Hippie Episode 41 – Did Trump Go Neocon, or Is He a Crackhead?

hindenburg_jew_merchant_2.0

Oy vey, we recorded this episode the night before Trump sent 60 Tomahawks to Syria, ending up killing six people. And while you’d have to wonder how HARD one would have to chuck such primitive, Native American weaponry in order to have them ALL land in the Middle East, let alone with the precision to kill six—

How can I laugh at a time like this? This wasn’t part of the plan! Trump was supposed to be the peace guy! All the accusations of sexism, racism, Islamophobia and whatever else leftists threw at him would be rendered meaningless had he not gone and done the one thing that we said Clinton would do. Granted she would have done it on the first day of her Presidency had she won, but that’s beside the point.

Our little podcast seems a little antiquated now that David humorously dismissed the notion that Steve Bannon’s being removed from the security council was ANY indication that Trump was gearing up for some strategery. I made the point that it seemed just a little ominous that a publication like the National Review had published a pro-Donald Trump article. Ann pointed out that to say that it might make Trump a neocon if he’s being praised by National Review is the same logic that leftists used when they called Trump “literally Hitler” just because he was being praised by David Duke. And logically she is 100% correct.

HOWEVER, in spite not agreeing with David Duke’s paranoid, “Jew in my sandwich” and blatantly white supremacist world view, I otherwise agree with, well, the OTHER stuff that he advocates, like closed borders and being against affirmative action; and chances are that, if you’re a libertarian, paleoconservative or AltRighter, you do as well. But I DO NOT agree with neocons and their nation building and attempting to democratize the undemocratizable. So, if a rag like National Review is PRAISING Trump, there might be reason to believe that he’s doing something WRONG.

AND WAS I RIGHT?! HUH HUH HUH HUH???

But, ya know what? I still agree with all the stuff he’s done domestically, and a couple of people have given relatively reasonable explanations for why he chucked tomahawks at Syria. So, I don’t have to drink myself to death yet.

David leaves after about 35 minutes, so if you only listen to the show for him, TOO FUCKING BAD. Ann and I talk about our high school bands, leftist punk rock indoctrination, shitty modern art, pay gaps, that Muslim kid who got into Stanford for writing #blacklivesmatter a hundred times on his application and that awesome Daily Stormer article that says women are your property and deserve no rights.

Oh, and of course we introduce our audience to BJ the Messenger and his classic “Crackhead”, which was performed on the cable access show Stairway to Stardom.

For Sounds of Marshabaloosh, we have the classic hardcore punk band the Nihilistics and their song “Drop Dead, Fuck Off, Leave Me Alone” from their 1992 album Fuck Guns & Roses, What About the Nihilistics. You can listen to this rippin’ jam here.

I created the art. It was inspired by David’s new career as a Hindenburg revisionist.

F

20170405_145934[1]FFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFffffffffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFfffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFfffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFfffffffffffffffffffffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFffffffffffffffffffffffffffffffffffffffffffffffFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFF

Savage Hippie Episode 40 – Only Detonate in Case of Extreme Islamophobia

me_ann_david_he_will_not_divide_us

It seems this past week, people have been madly jerking off to their copies of Culture of Critique and then telling me that I HAVE to read Kevin MacDonald’s book because then I’ll be convinced by just how parasitic Jews really are. Sorry, not sorry, but you can suck my dick; send me a copy, and I’ll read it, but I’m in the middle of The Managerial Revolution by James Burnham, and I just spent thirty bones on the re-print of Jim Goad’s Answer Me! zine, so I really don’t give a shit about Jewish “survival strategies.” It’s not like I don’t already know the history of the diaspora, the Bolsheviks, the Frankfurt School, the Holodomor or Saul Alinski. I mean, holy fucking shit, you paranoid freaks . Yes, Jews own most of the media, and yes they’re pathologically leftist to the point of irritation, but the way some of you act, you would think it’s the 1950s, and you’re all the John Birch Society trying to quell the spread of Negro music to your white kinfolk. Sorry, ship has sailed, and America now has a beat.

And let’s not forget Hollywood, the TRUE bedrock of degeneracy; if a Hollywood studio releases some liberal movie about gay cowboys or gay black drug dealers, then of course they’re doing it to spread degeneracy to the honkies. But if a Hollywood studio releases The Searchers where John Wayne shoots Indians, then the Jew is STILL trying to subvert the goy by providing the entertainment he likes so much.

So, to the guy who asked the question and to the rest, if you want to now why WE think Jews did what they did to white societies, well, listen… and if you still don’t like the answer, once again, suck my dick.

For those not obsessed with Jews, we talk about Johnny Rotten liking Trump, Ann’s shithole town of Chicago, Tom Perez and his hilarious attempt to overhaul the DNC and the Shia LaBeouf flag debacle. On top of that, we answer questions, Ann tells probably the most nauseating joke she’s EVER told and I get pretty incapacitated with liquor in the second half, so sorry about that.

Band this week is the Scientists with their song “Set It on Fire.” It’s a live version from the early 80s. Recently the Numero label reissued the Aussie punk/post-punk band’s entire discography in a box set called A Place Called Bad. Listen to any of their fine selections here.

The song at the end is the unmistakable “The Diet Has Failed” by the Yesticles, and David won’t divide us with his shitty artwork.

Savage Hippie Episode 39 – Thot, Twot or Tsot?

me_ann_david_might_is_right

First of all, we need to make a correction. On the show, one of our fans asked me and Ann Sterzinger what we thought about Tomi Lahren’s recent about face regarding abortion. I guess we didn’t actually know the whole story. HAD we known that she had gone on The View, we would have been A LOT more hostile towards her. Instead, since she pissed off Glenn Beck, we kinda hemmed and hawed around the issue and instead just talked about abortion in general.

Then, we have to make an apology. I think the Savage Hippie podcast might be the only podcast where one of the hosts leaves the show to walk his dog. But, indeed, David Cole left the show to walk his dog. So, if you’re hankerin’ for David Cole and that unmistakable voice of his, well, you get him in the first three minutes, a couple of minutes in between and the last 25 minutes. And I sample his voice saying “oy vey” every so often just to be annoying.

Aside from abortions, we talk about Trump, the wire tap and the Russkies; we use racial slurs, but DON’T weaponize them; we give better sex tips than Cosmo; Ann talks about her white trash upbringing; and David gets mad at me a few times… ya know, the normal shit.

These articles were mentioned in the episode.

WESTERN WOMAN ON HIPPIE TRAIL “FINDS HERSELF” JUST BEFORE RAPISTS AND MURDERERS DO

JERUSALEM TRUCK ATTACK: NOT SURE IF TERRORISM OR THOT PATROL

For this week’s Sounds of Marshabaloosh, we feature a song by White Zombie; yes, the same White Zombie who became popular on MTV’s Buzzbin in the 90s with hits like “Thunderkiss ’65” and “More Human than Human”, but not really! In the early part of their career, White Zombie was a sludgy, noise rock band, which some of our fans might describe by the cliche of “cats being strangled.” Well, to me it’s a good sort of cats being strangled. The Numero label reissued all of their early material from before they signed to a major label in a box set called It Came from NYC. The song we feature is called “Die Zombie Die”, and it’s from their album Soul-Crusher. You can listen to the song here.

The song at the end is, without a doubt, “The Diet Has Failed” by the Yesticles, and Clayton V did the artwork months ago, and I’m finally using it because I forgot I had it saved on my computer.