I Do Wanna go Back 50 Years and Do It Over.

me_pet_sounds_paper_backsI was discussing with my coworker whether, if it were 50 years ago, I would be into the music of the day.  My guess is most likely not.  I would imagine that a 32 year old version of me back in 1966 would have been married with a couple of kids, working a standard or above standard job, living in a nice house and buying my kids the paperback books you see me holding in the picture.  After all, if we’re going by what the culture was like back then, I probably would have outgrown “popular music” by, I dunno, 1952 at age 18 and focused entirely on either getting a career or going to college, back when having a college degree actually mattered.  The only reason I’m bringing all of this up is because I saw a Facebook post reminding me that the legendary Beach Boys album, Pet Sounds, was released 50 years ago, and it got me thinking about how art, culture and society have evolved/devolved in half a century.  So, let’s start with the topic I know the most about.

1966 is probably the most important year for rock ‘n’ roll.  The album took precedence over the single, and many of the most important albums were released that year.  Rock showed the establishment that it too could be taken seriously as a form of art.  Older, established bands were no longer content to just entertain an audience; now they were officially “artists.”

On Revolver the Beatles experimented with Eastern, Sitar sounds (“Love You To”) and backwards, psychedelic tape effects (“Tomorrow Never Knows”). On Aftermath, the Rolling Stones threw in baroque arrangements into “Lady Jane” and also used Eastern influences on both “Paint It Black” and “Mother’s Little Helper” – the former on the American version of Aftermath, and the latter on the European version.  And on their album, A Quick One, the Who performed the first “rock opera” (nine minute “A Quick One While He’s Away”).  On top of that, there were all of these wonderful, unique and creative albums from new bands; Black Monk Time by the Monks, The Psychedelic Sounds of the 13th Floor Elevators by the 13th Floor Elevators, Freak Out! by Frank Zappa and his Mothers of Invention and both The Seeds and A Web of Sound by the Seeds, just to name a few.

One could say it was a gosh darned renaissance in pop music!  New ideas, new drugs, new open sexuality – the world was throwing off the shackles of the previous generation.  However, one album stands out among all of the other classics of ’66 for what sounds like a lamentation of all this “moving forward” that society was doing.  Okay, you could talk about how the Kinks sang about the loss of the old way of life to modernity, but for the sake of argument and because they’re British, let’s ignore them and focus on the album I’m holding in the picture: Pet Sounds by the Beach Boys.

If I’m not mistaken, most hipster people don’t think much of the Beach Boys because the group’s early surfin’, cruisin’, drag racin’ and tail chasin’ (okay, that last one was a bit of an exaggeration since their songs are pretty wholesome) world view reflected a macho, retrograde, capitalist, consumerist and all American culture that these days is all but a quaint memory.  That’s probably why the only Beach Boys album any of them seem to talk about is Pet Sounds.  And, I’m assuming that has more to do with Mike Love’s experimentation with orchestral flourishes, than what the group was singing about.  We want to turn on, tune in and drop out, and you’re singing songs about marriage?

When did the 60s actually start?  Well, obviously 1960, but 1960 was really no different than 1959.  We didn’t see any real spike in cultural upheaval until a few years after that.  As far as I’m concerned, the 1960s that Dennis Hopper says you weren’t in if you claim to remember it didn’t really begin until 1966.  Sure Kennedy’s assassination in 1963 put a damper on America’s soul, the 1964 Civil Rights Act rearranged how private businesses were allowed to operate, the 1965 Hart-Celler act fundamentally changed the American demographic from majority white to god knows what from god knows where and the 1965 Watts Riots led to the start of white flight from major cities to their neighboring suburbs, but a couple performances by some British rock bands on American TV in 1964 and 1965 didn’t exactly represent a rapidly shifting cultural zeitgeist as many would like to think.  In fact, if the clip that I saw of a couple of young people complaining about Jim Morrison’s onstage social/political rants are any indication, there were plenty of people from that era who viewed mainstream rock and pop music as nothing more than entertainment.

The true cultural shift began to manifest in about 1966.  Hollywood studios “broke the code” by releasing movies like Mike Nichols’ Who’s Afraid of Virginia Woolf?, with blatant references to “humping”, and the Michelangelo Antonioni film Blow-Up, which has a bunch of nudity in it because, like, nudity is cool.  Anton LaVey launched his Church of Satan because traditional religions are for the birds.  Bra-burning feminists hit the scene.  Black Panthers began to patrol the streets of major cities.  The kids were being told to not trust anyone over 30.  Hair was getting longer, sex was getting looser, movies were getting smuttier, music was getting druggier and American society was embroiled in one of the biggest cultural wars it had ever faced since, I dunno, the Civil War?

angry_bikersAnd so, it’s 50 years later.  I’m a HUGE fan of pop-cultural ephemera, music, films, magazines and books from the 60s.  I wonder if it’s possible for all of this stuff to exist if the culture hadn’t taken such a massive nose dive; would there even all these cool sexploitation films and biker films and John Waters films and Satanic films and women in prison films and excessively violent Spaghetti Westerns if there wasn’t a society to reflect off of?  Granted, the gangster and crime pictures of the 30s through the 50s were already reflecting the darker side of American culture, and of course there were horror movies.  Companies like American International made sensational movies like Teenage DollThe Wild Angels and The Trip so that the average Joe could experience “the other side” without having to join a gang, get into a violent brawl or drop a hit of acid himself.

When all was said and done, the majority of people didn’t participate in the lunacy and cultural degeneracy of the 1960s; they worked jobs, got married and had kids.  The ones that were part of the counterculture either became burnouts or were absorbed into academia and various parts of government, taking their views with them and forcing them onto future generations.

I’m sure many of the geriatric counterculture types who were alive in the 60s would never have guessed that we would have men in women’s clothing trying to use women’s restrooms or girls excusing their sluttiness with such clever labels as “polyamerous.”  The craziest yippie, hippie, degenerate freak of the 60s never would have even considered gay marriage a possibility.  Many “freaks” I talk to, who were around back then, still love the music, but now have way more conservative views.  Yes, these were degenerate freaks; but they were mostly heterosexual, degenerate freaks.

And so we have the first verse of “Wouldn’t It Be Nice”, the opening track on Pet Sounds by the Beach Boys:

wouldn’t it be nice if we were older
then we wouldn’t have to wait so long
and wouldn’t it be nice to live together
in the kind of world where we belong
you know it’s going to make it that much better
when we could say good night and stay together

Can you imagine such an antiquated notion as asking someone to marry you marketed to the kids of today?  Forget the kids; what about the 36 year old sluts who are getting pumped and dumped for the umpteenth time by some guy in his early 30s, who doesn’t want to commit to an over the hill broad that still thinks of herself as top shelf in the sexual market place?

Jesus, don’t even bother with these lines:

Maybe if we think and wish and hope and pray it might come true
Baby then there wouldn’t be a single thing we couldn’t do
We could be married
And then we’d be happy

Praying?!  Why that sounds like something those stupid Christians do!  Pet Sounds came out 50 years ago right about the time the culture was “changing.”  We’re now seeing a mirror image of the 1960s.  The hippies, radical feminists and Black Panthers have been replaced by Occupy Wall Street, “free the nipple” feminists and Black Lives Matter thugs, and, with the ascendancy of Donald Trump, the growing discontent of the American worker, the trend in single motherhood, increasing inner city crime, the desire to end trade agreements, overbearing political correctness and a stronger nationalist sentiment, I have a feeling the next generation may be clamoring  for a reversal of 50 years of “progress.”

Stuff Every Woman in a Refrigerator or the “Who Gives a Shit?” Effect

guardsman_of_gorWhen I sit down to watch a movie, especially one directed by Jess Franco, who is known for such sleazy, Eurotrash classics as Vampyros Lesbos and Marquis de Sade’s Justine, the VERY first thing I ask myself is, “DOES THIS PASS THE BECHDEL TEST??!!”

I have to sadly conclude that there is absolutely no way I can find a feminist justification for watching either of these movies, or practically any film I watch.  Unless you count The Captive Female, where the sassy, red-headed hooker uses her feminine wiles to escape from the demented Matthew and his claw hand.

Similarly, when a couple of my buddies and I got out the popcorn and sat down to watch our Saturday night marathon of Birth of a Nation, Triumph of the Will and Jud Suss, I had to admit that it was damn near impossible to find a single egalitarian messages in any of these films.  Don’t get me wrong; D.W. Griffith’s film is a masterpiece in early film making, while the feminist side of me wants to revere Leni Riefenstahl —

Okay, if you’re a modestly cultured person, you got what I was doing; I was trying to apply modern day, Social Justice Warrior critiques to movies that are completely devoid of any value we would find acceptable in our modern, politically correct world.  OBVIOUSLY you wouldn’t look for egalitarian messages in Birth of a Nation – that’s the 1915 film where the KKK are the good guys and lynch a black man, who is played by a white man, after he attempts to rape Lillian Gish – or in Triumph of the Will, which is Riefenstahl’s filmed account of the Nuremberg rally or Jud Suss, a nasty anti-Jew propaganda film from Veit Harlan, who, after the fall of the Reich, went on to direct the anti-gay film, The Third Sex.  Nor would you attempt to see if anything by that Spanish pervert Jess Franco passes the Bechdel Test.  I was using hyperbole to make what should be a pretty obvious point.

And what point is that you ask?

Hold your horses, and this will all make sense.  I just watched Davis Aurini’s brilliant documentary Immersed in Subversion: Control the Culture, Control the Man, in which Aurini discusses video game “critic” Anita Sarkeesian and her narcissistic attempt to censor speech and control the culture.  In the film, Aurini points out several inconsistencies in Sarkeesian’s attacks on video games.  I am not a gamer; my knowledge of video games stops in the early-mid 90s with Sega Genesis and Super Nintendo, so I haven’t played, nor care to play any of the games he’s talking about.

But, in the video, he debunks her claim that video games are sexist by pointing out that the part where you get to beat the strippers to death and drag their bodies around is only one of many possibilities, or the fact that games that feature wicked hot women in stripper costumes and have double D knockers and perfectly sculpted asses aren’t sexist because the women have parity with men who are sculpted like Greek gods.  I say, “who gives a shit one way or another?”

I don’t care if EVERY video game involves some guy saving some girl from some from of peril.  It’s a goddamn video game for crying out loud!  If people get bored of Big Guns McGillicuddy going around blasting people and saving some “damsel in distress”, then some enterprising developer will come up with some other game that has a different story.  Just the fact that he’s trying to explain why these games are “evenly balanced” is such a futile waste of time in my opinion.

That would be like me trying to explain how the 70s hard rock that I love so much isn’t sexist because, even though the Sweet song “Someone Else Will” has the lyric “if you don’t go down on us, someone else will”, it’s only speaking to a specific person and not to the whole female gender.  I could then use Alice Cooper’s “Only Women Bleed” as an example of a song which shows sympathy for women, but what would be the point?  Who am I trying to convince and for what purpose?

The whole argument reminds of me of some of the fantasy books I read; in Robert E. Howard’s Conan stories, the Shemites all have hooked noses and are only trustworthy when they’ve got something to gain from other races, while the dark skin races are all primitive.  Conan also has the predilection for ravishing/raping women.  H.P. Lovecraft repeatedly talked about his hatred for anyone who wasn’t white.  Edgar Rice Burrough’s John Carter character shoots “savages” at the beginning of A Princess of Mars before being sent to Barsoom and attempting to interact with barbaric, non-white races.  What about Sax Rohmer’s “yellow peril”, Fu Manchu?  Shouldn’t the band Fu Manchu be yelled at for naming themselves after a character who most people would find to be an offensive stereotype of Asians?

I remember even thinking this ten years ago when I sat down with my buddy Nate and asked him why black people in his film class get so damn uptight about Birth of a Nation.  He looked at me like I was being the most insensitive jerk in the world and said, “because some of them are black?”  And I thought, “but they do realize the film was made a century ago and that’s the way people thought back then, right?”  Many soldiers who fought during the Civil War were probably still alive when that film came out, and to them, a lot of what is in that movie holds true. Surely they can’t be that sensitive where they can’t put the film in its proper context?  Geez, I wonder how they’d feel about the sympathetic treatment of the Confederate side in The Good, the Bad and the Ugly!  Trigger warning!

And it got me thinking about how, in 2016, universities are a joke and how it’s impossible to look at a piece of art, literature or music objectively anymore.  Somehow the piece has to be explained through a “minority” or “female” perpsective, or someone has to be criticized for having a view that isn’t in complete accordance with what is politically acceptable today.  We have to watch modern films and make sure they pass the Bechdel test, or we have to bitch about how too many women are being stuffed into refrigerators.

Art is not social justice.  If you’re sick of women being stuffed into refrigerators, then make a story where the women are stuffed into microwaves.  If you’re sick of the “male dominated” comic book, video game or film cultures, then make your own games with your own stories.

One thing I AM grateful for is that 99.9999999% of white power bands suck ding dongs, so I don’t have to pretend to feel guilty listening to them.  Well, except for this one.  Objectively speaking, Hail the New Dawn by Skrewdriver really blows.  Seriously, listen to it!  He sounds like he has a frog in his throat, the production is total shit and the guitars aren’t loud enough!  Hmm, on second thought, it’s actually kinda catchy…

I do enjoy a good Wagner score though, and I like early Disney films, and I enjoy the F.W. Murnau film The Last Laugh, which stars Emil Jannings, who became a Nazi.

So, I say go ahead, put on I Spit on Your Grave, The Bad Bunch or S.S. Hell Camp, watch women get beaten and raped, hear honkies and niggers yelling racial slurs while swinging chains at each or watch some big-bossommed Brunhilda conduct grizzly experiments on hapless victims in a Nazi torture camp, because, of all the things I look for in a movie, social responsibility just isn’t one of them.

Also, to a man, I still have no fuckin’ idea what a “trope” is.  Though I do enjoy troping women when I’m at the bar.

Let’s Raise a Toast to John Wayne!

el_dorado

Let it be known that, while what you get caught saying on camera or online can cost you your job and tarnish your reputation, that what you said nearly half a century ago under an entirely different context, will also forever tar and feather you.  Therefore, if you do want to have a legacy in American or Western history, your best bet is to never have said anything then, that would be considered unthinkable now.  Since time machines have yet to be invented, we’re not likely to get an apology and recantation out of John Wayne.  Therefore May 26th will not be John Wayne Day in Sacramento, CA.

For you see, California lawmakers voted 35-20 to not honor John Wayne’s birthday because he made the following statement in an interview with Playboy magazine back in 1971:

With a lot of blacks, there’s quite a bit of resentment along with their dissent, and possibly rightfully so. But we can’t all of a sudden get down on our knees and turn everything over to the leadership of the blacks. I believe in white supremacy until the blacks are educated to a point of responsibility. I don’t believe in giving authority and positions of leadership and judgment to irresponsible people.

Whoopdi-fuckin’-do!  This piece of “hate speech”, which was said back in an era where civil rights/women’s lib/hippie long hairs/soon to be future leaders were clashing with old timey hard hats, who remember the good ol’ days, is the sole reason that Sacramento won’t honor American film icon John Wayne.  I don’t agree with this statement; I don’t think any group should have supremacy over another, but does that alone warrant not honoring one of America’s most enduring cultural icons?

By all accounts, John Wayne represents an America which is all but long gone, existing in little pockets of the country that get laughed at by “enlightened” urban elites.  Hell, as mentioned by Jim Goad in his latest piece for Takimag, which I more or less ripped off, Wayne and cowboys in general are used as a symbol for all that was wrong with America.  The hardcore punk band Millions of Dead Cops even have a song called “John Wayne Was a Nazi.”  This was their way of saying that he represents racism because a lot of his film characters fought Indians, who were bad guys.  I’d put the blame on directors like John Ford and Howard Hawks or their screenwriters, but that’s just me.  It’s also ironic to call John Wayne a Nazi when he was in several World War II movies, fighting for the Allies.  But, I highly doubt Millions of Dead Cops were concerned with any of that.

The point I’m making is that John Wayne and Westerns in general are not liked by very many young people these days.  Most old films aren’t liked by young people these days.  I get it; they’re slow moving, the acting is old timey, the dialogue is often corny since the actors weren’t allowed to swear and had to use words like “buster” instead of “bastard” and you never actually saw anyone bleed when they got shot.  But, of all the genres, Westerns get shit on the most.  Millennials can totally eat up classics like Psycho, with the violence, pathos and psychosis and they have no problem sitting through 12 Angry Men, in which one juror tries to convince the other eleven to acquit a wrongly accused youth, who it was implied was being accused almost entirely due to racial prejudice.

Hell they’ll watch Spaghetti Westerns since the characters are all a bunch of ambiguous assholes out for their own personal gaines – though I wonder how they feel about Sergio Leone’s sympathetic treatment of the confederacy in The Good, the Bad and the Ugly.  But the classic Westerns, in which John Wayne plays the all-American, gun-slinging hero are looked at as corny, representing values that most young people simply can’t relate to.

Personally I love John Wayne’s films.  In Red River, he and Montgomery Clift guide a herd of cattle across the rugged countryside, facing whatever dangers that come their way.  In Rio Bravo, Wayne plays a sheriff of a town and helps his buddy Dean Martin kick his drinking habit, after which, the two of them, along with Ricky Nelson, have a wild shootout with some bandits.  In The Searchers they genocide Indians… juuuuuuust kidding, but that’s what my friend Brian said during the climactic shootout when he, Kristen and I watched it.

If you want to trace how I got to where I am today, blame it on the movies!  That’s right; blame it on liberal ol’ Hollywood.  In 2005, I was an overnight film convert.  At first, I watched nothing but old monster pictures, the horror classics of the 30s and 40s – I literally watched The Mummy’s Hand, The Mummy’s Ghost and The Mummy’s Curse in a single evening – then moved into old science fiction films with the flying saucers and the giant rubber monsters that crush cities, then onto the gangster pictures and film noir and lastly onto the Westerns.  And of course I’ve seen the what’s what of classics; Gone with the Wind, Casablanca, Citizen Kane, etc.

I basically viewed old cinema as a window into another time and another world.  Nothing too surprising there; old cars, old buildings, old streets, old sidewalks, old etc. etc..  And, man oh man, did I enjoy the exploits of the private dicks Sam Spade in The Maltese Falcon and Philip Marlow in The Big Sleep.  I got a kick out of watching Burt Lancaster and Yvonne DeCarlo double cross a gangster played by Dan Duryea in Criss Cross.  I enjoyed watching Paul Muni become the biggest and most violent gangster in Chicago, only to get his comeupponce when he gets his brains blown out by the cops in the original, 1932 Scarface.  I enjoyed watching Richard Widmark and a bunch of underworld scum going after a piece of mircofilm in Sam Fuller’s cold war thriller Pickup on South Street.  And wowee, did I like watching Mike Hammer grab the one guy who was tailing him by the collar, slam him into a wall and slap him around a few times in Kiss Me Deadly.

I enjoyed watching the American military blast down the flying saucers in the surprisingly titled Earth vs. the Flying Saucers.  I felt bad for three explorers watching all of their gold dust blow away in The Treasure of the Sierra Madre.  I can’t honestly say I was frightened by Invasion of the Body Snatchers, but I can say it was disturbing watching the people of that little town being replaced by zombified replicas of themselves; I think the fright factor was removed by the fact that the movie was framed as a flashback, so you know that it ends well.

That one’s always a trip; liberals and conservatives are always arguing about what that movie is actually saying. Liberals say it’s about conformity in middle America brought on by consumerism.  Conservatives say it’s a red scare warning, that you never know who might be a commie fink.  I say, “who cares?”  It’s a great, compelling little thriller.  The fact that Don Siegel went on to direct Dirty Harry still doesn’t indicate anything; after all, you could be against middle class conformity, yet still believe there’s a class of criminal that doesn’t deserve due process.

But this piece is supposed to be about John Wayne and why young people don’t like him.  He represents old timey values and traditional masculinity, but what’s interesting to note is that many of the above movies have plenty examples of those values as well.  Who is Ralph Meeker (Mike Hammer) if not an alpha male?  Or Humphrey Bogart (Sam Spade, Philip Marlow)?  My thinking is that, though these characters are still tough guys who settle their scores with a bullet or a fist, the movies throw them into morally ambiguous situations, and young, nihilistic liberals love that.  Good guys and bad guys?  Fuck that shit; everything’s relative.  I wouldn’t be surprised if one of these young dipshits calls The Thing from Another World racist because the crew stationed at the arctic decided to defend themselves against the creature, rather than capturing and studying it.

In John Ford’s 1962 classic, The Man Who Shot Liberty Valance, John Wayne goads the city boy lawyer Jimmy Stewart into punching him in the face.  He laughs it off, but the implication is that he made the lawyer throw his first punch, making him settle things the old fashion way, and thus turned Stewart into a real man.  After all, what kind of man are you if you haven’t thrown a punch or two in your life?  Sometimes I think the same about shooting a gun, and I wish I could take one or two of my liberal friends with me to the range, and help man them up a little more.

Anyway, Cheers John Wayne, I’ll have a drink for you on May 26th.

 

I’ve Got Israel on My Mind

hakim

I don’t need anyone to point out the irony that I had the Holocaust song “Death or Glory” running through my head when I came up with the title for this post.  Ya know, because of their name, which either was or wasn’t inspired by the historical event that so became labeled in the 1960s and had been spoon fed to the masses through shit movies like Schindler’s List;  what kind of Jew would say such a thing?!  Oh, the HORROR!!!  My skinhead pals Nick and Gabe called me a self-hating Jew just because I pointed out that the Holocaust industry makes all the non-Jew honkies feel bad, as if anyone under 70 years old had anything to do with it.  I’m NOT a self-hating Jew; I’m so nationalistic/Zionistic, you could call me an ashkeNAZI, yuck, yuck.  I am, however, very critical of some of my fellow brethren for being such idiots over the years; like, for instance, my coworker, who has been so guilted by the retarded misinformation about the Israeli/Palestinian conflict that he feigned complete indifference to taking the FREE Birthright trip because he’s so uncomfortable/ashamed of his ethnic heritage.  Nice work, BDS (Batman Does Superman?).  Where college campus intimidation didn’t work, your shaming campaign did.  But, I’m not a libtard, and you Pali-Jordanian-whatevers are getting EVERYTHING you deserve.

A couple days ago, I was asked what my feelings were about U.S./Israeli relations and the Israeli/Palestinian conflict as a whole.  Now, there’s a difference between what MY personal feelings are and what I feel are the appropriate policies for the current situation.  It seems as though, when debating the topic, the only sides you can take are that either you’re for having the U.S. back Israel financially or you’re an idiotic, BDS (bondage, domination and sadism?) supporting, left-wing douche.

But, that just doesn’t compute because, as the hot, Aryan dominatrix Ann Coulter pointed out, the population of the United States is only 2% Jewish, and average Americans are not concerned about what’s going on in or around Israel anymore than they are about Japan. They’re not against Israel and would gladly visit Israel, but, in terms of their national allegiance, they don’t really have much stake in Israel.

So, if it doesn’t have anything to do with them personally, why would they want their tax dollars to go to Israel, or any other country for that matter?  Jim Goad wrote this hilarious article about the Israeli/Palestinian conflict, which sums up the matter quite nicely.  In principle I feel the Jews deserve a homeland just as much as any other group.  Ben Shapiro claims that being a Jew is not about “remembering the Holocaust”, but about following the laws of the Torah.  Is it necessarily about either?

Well, I’m Shapiro’s age, but I’m not a Torah thumping, Yarmulke wearing, davening every morning, wait until marriage to have sex, religious dude.  So then what makes someone a Jew?  Well what makes someone an Armenian, Greek, Italian, German or Irish?  Maybe blood ties to tribes that go back several thousands of years, who formed nations and have certain ethnic characteristics– YYYEEESSSS, I BELIEVE THAT RACIAL AND ETHNIC DIFFERENCES EXIST AND “RACE” IS NOT JUST A SOCIAL CONSTRUCT–  And no, sorry, the Jews of Europe do not descend from the Khazars.  Even “Jews run the world” David Duke doesn’t believe that.

Was the creation of Israel good in a geopolitical sense?  Let’s put it this way; if I were to go to the worst ghetto of Detroit, pull out a wad of twenties and swing them around, and a group of thugs robbed me at gunpoint or killed me, you would think I’m a dumb ass, wouldn’t you?  You’d ask me what I was doing in such a shitty area waving money around.  Well, what if I came back to that same area per my technically legal right to be there, since it is a free country after all, only this time I’m carrying a gun, and I put a few bullet holes in my assailants.  Would you think I’m a murderer or a hero?  Am I defending myself or out for blood?

Once you can honestly answer that question, then you know what side you stand on the Israeli/Palestinian conflict.  When Jews went to Israel after World War II, they knew they would be surrounded by a population of savages, whose values date back to about when their religion was initially established and only understand the way of force and violence.  They hate Jews simply because they do.  The Jews briefly thought about setting up their homeland in Uganda, but fuck Uganda.

And don’t go calling me racist when I speak of the “religion of peace” in such colorful terms.  As Ann Sterzinger pointed out, Islam isn’t a race; it’s a mental disorder.  There are white Muslims too, and all you have to do to not be a Muslim is simply stop practicing Islam.  Sorry if CAIR brainwashed you into thinking “Islamophobia” is actually a thing.  If you’re going to take the “but that’s religious bigotry route”, then why don’t you yell at EVERY SINGLE MEDIA OUTLET THAT LAMPOONS CHRISTIANITY FIRST, you dope.  But, you know, if we had just left the Islamic world to its own devices, we wouldn’t be experiencing all of these terrorist acts.  If you think the attacks in Brussels or San Bernardino have anything to do with the Middle East, or more specifically, the Israeli/Palestinian conflict, I want to know what you’re smoking!  Okay, ISIS was an outcome of going to Iraq, but what of it now?  Why are so many Muslim kids radicalized in the West?  Could it be their pathological aderence to the Koran?

But, back to my point.  I honestly, to a man, feel that the majority of the people who support BDS (bagels, donuts and sausages?) are the same bearded, glasses wearing, feminist hipster fags who support retarded, leftist agitators such as #blacklivesmatters, Occupy Wall Street and every other George Soros backed, anti-American, anti-male, anti-white crusade.  They of course don’t realize that the people they want to help hate them with a furious, “kill all the honkies” passion; in some cases replace “honkies” with Jews.

The “hillbillies” that liberals like to lampoon, the ones that put the confederate flags on their pickup trucks, are much more tolerant of Jews than the blacks, Latinos and Dearbornistan dwelling Muslims who they’re trying to side with; you’re not them, you’re not like them and you’ll never be like them.  I honestly feel that most liberals and leftists think that Israel is the “oppressor” and that the Palestinians are the “oppressed” because the more prosperous Israeli population has a lighter complexion, and the less prosperous Palestinian population has a darker one.  Hell, Donald Trump, the man they’re so fond of bashing, wants to not let 10,000 Jew hating Syrians and other assorted, Islamic riff raff into the country and they’re against that?  But Jews have always been their own worst enemies; first they were complicit in creating Marxism and Cultural Marxism and then they watched as the derelicts whom they sired turned on them and trounced all over Israel.  And yet self-hating, liberal Jews, like this one guy, Brian that I know, can only do one thing: bash whitey.  This guy hates himself, the United States and white people so much, that he will do anything to defend the “innocent” Muslims and “oppressed” non-whites, who most likely hate him, even if it means retreading the tired, cliched and completely irrelevent Holocaust comparison.  Godwin’s Law indeed.

And all of that footage of IDF soldiers dancing around bombs or allegedly celebrating blowing up little kids on the Gaza is just a bunch of gussied up propaganda that’s taken out of context.  We call that Pallywood.  If you feel so bad about what you see in those little clips, do you feel the same about the Allies bombing Dresden?  If you feel that the so called displaced “Palestinians” (there never was a Palestine; they’re actually Jordanians) deserve all their land back, do you feel the same way about the Indians?  Or the Japanese during World War II for that matter?  And, while we’re on the topic of rights of return, why is it that, after being put in interment camps and only receiving paltry reparations, the Japanese bounced back and now are massively successful in the world of tech, while Palestinians are, well… good at killing, stabbing and blowing themselves up?

It’s war, son; you send your nail-filled Qassam rockets into our land, we’ll blow yours to pieces, got it?  Good!  You don’t want us to occupy your slightly less militant West Bank, keep your terrorists in check.

With all that said, does the U.S. need to fund Israel and its efforts to keep itself safe?  When I suggested it did not, the backlash from the evangelical right was hard and fierce.  One guy said that the only country we need to fund is Israel.  Really?  I mean, look, if you gave me billions of dollars year after year, I wouldn’t turn it down, but that’s on you, and I’ve been to AIPAC meetings at the local synagogue; there’s really nothing that went on there that warrants much discussion.  The problems they discussed with the crazy Pali-kids running around stabbing people is an Iraeli problem, and now that Israeli citizens are arming themselves, well…

Now, look up above at what I wrote.  Does any of that imply in any way that I am not an Israel supporter, or that I’m on the side of the Mujahideen?  I’m clearly supporting Israel’s right to defend itself.  I’ve been to Israel, I like it in Israel, I recognize it as the only democracy in the Middle East where hot, tanned, Kim Kardashian lookalikes roam the streets.  The culture is laissez-faire in regards to being a drunk degenerate; so much so in fact there’s an article at the Alternative Right, which says Israel is in the same state of moral and cultural decline as places in Europe and the U.S.

But should the U.S. play favorites with the economy in the state that it’s in?  As a Jew, is it fair to force 200,000,000 working Americans to help fund a country that they don’t care about?  I’m of the mindset that the U.S. shouldn’t play favorites; not to Israel, not to Iran, not to Saudi Arabia, not to Mexico, not to China, not to Russia, nobody.  I’m an American after all and, as much as it as it annoys me when people make stupid claims about a conflict they don’t wholly grasp about a country they don’t even know is the size of New Jersey or care so damn much about when it really doesn’t affect them, I first and foremost care about the U.S.

And, hey, if you care for the Palestinians so much, why don’t you go live among them; especially if you’re gay or an overweight feminist with blue hair.

How I Became a Trump-Supporting, Alt-Right, Punk Rock Jew

leather_jacket_t_shirtLast weekend, a black woman called me a “honky.”  No, let me clarify; she didn’t directly call ME a honky; she asked if, when I get up to do drunken karaoke at Detroit’s Majestic Theater lounge area (alternately referred to as the Garden Bowl), I was going to sing “some honky music.”  So, naturally I sang “Straight Outta Compton” and said the word “nigga” a bunch of times in front of black people because I’m edgy.

Just kidding, I sang “I Saw Her Standing There” by the Beatles and Ms. “Are You Going to Sing a Honky Song” joined me in a duet after I gave her $5 to get me a whiskey shot mixed with diet coke; I let her handle the part at the end of every line where John Lennon goes “miiiiine.”  This was prior to going next door to see Peter and the Test Tube Babies, a British skinhead punk band from the early 80s.  I invited my newly made black female friend to join me towards the end when they stopped taking money at the door.  I also reminded her how she called this “honky music.”  She giggled and said, “I betcha refer to us as niggers and think we listen to ‘nigger music.'”  Somewhat surprised, I said “Uh, no, I don’t go around referring to black people or anyone as ‘niggers.'” (which is true, although I did call a Muslim “Muzzie” once).  I also didn’t tell her that I’m a Jew – NOT because I’m ashamed to admit that I AM one, since I do that ALL THE TIME – but because I didn’t want to play the whole, “it’s okay to insult the massa ‘white people’, but did you know that I fit into a so called minority group that was ALSO oppressed by ‘white people’?”  I’ll leave that up to Brian, the self-hating, liberal, punk rock Jew.

Nope, I was going to at least make her acknowledge that, in spite what the media tells you, we “honkies” aren’t your enemy and that it’s no more okay to call me a honky, than it would be for me to call you a nigger.

The irony of all this is that, at the same show, my former buddy Nick, the “half gay” “SHARP Skinhead” (If you didn’t feel like clicking on the link, SHARP is an acronym for “skinheads against racial prejudice.”) made it clear that, though he could shoot the shit about the merchandise at the table, we could in NO WAY be associated as friends because I’m officially racist™ and sexist™.

I don’t even USE terms like “racist”, “sexist”, “misogynistic”, “homophobic” or “anti-semitic” anymore, aside from when I’m trying to talk to a liberal in his/her/its language; I’ve never used “Islamophobic”, since it’s a completely fabricated word, which implies that saying negative things about the religion of Allah, no matter how racist, sexist, misogynistic, homophobic or anti-semitic it may be, is a no-no.  But, in Nick’s eyes, I might as well be Nazi Chuck.  That’s right; in the binary world of the SJW – and that’s what you are, Nick, you fag wannabe – my pointing out incontrovertible truths about how blacks commit more violent crimes than any other group, how black on white crime outnumbers white on black crime, how the #blacklivesmatter movement is made up of nothing but leftist agitators who don’t actually care about black lives killed in drive by shootings, how Islam is a violent death cult or how women are not oppressed in Western societies puts me in the same exact class as a card carrying Nazi Skinhead.

So, then, the question is, what brought me to the unapologetic, Caucasian defending, multiculturalism bashing world of the Alternative Right?  In the words of the sound sample at the beginning of the first track on the White Zombie album Astro-Creep 2000, perhaps we’d better start from the beginning…

Growing up in an upper middle class neighborhood is fine and easy, but being bullied for being a nerdy, booger eating, comic book and action figure loving fatso gave me the thickest skin ever.  You couldn’t insult me to save you life; call me a kike, hebe or part of the hooknose cabal, tell me how all Jews should be shoved in an oven or how Jews all run the media and want to enslave the rest of the humanity with debt and you couldn’t get a reaction out of me other than a smirk or a shrug.  In fact the only thing that ever really got a rise out of me was when people made fun of my male pattern baldness; that was until a cute girl fucked me and told me that, for the most part, going bald doesn’t matter.

At 14 I had discovered my “identity” when I heard the Misfits and became a punk rocker or punk rock fan for life (actually I’m more of a music geek who’s into all types of weird shit, but let’s just go with “punk rocker” for the sake of this article).  In addition to delving into the “real” punk bands, such as the Ramones, Sex Pistols, Saints, Stranglers, Stooges, New York Dolls, Dead Kennedys, Dead Boys and Black Flag (oh, I could name thousands of others, but I think you get the point), I was also into the most obnoxious, gross, tasteless and offensive bands I could find.  I loved the bejeezus out of the Meatmen, Gwar, the MentorsGG Allin, the Dwarves and of course Anal Cunt, the only band who, to this day, has never said, “it’s all a joke”, in spite having side splitting song titles such as “I Sent Concentration Camp Footage to America’s Funniest Home Videos”, “Woman: Nature’s Punching Bag” and “The Word Homophobic Is Gay.”

I also didn’t really have a problem with the Black Flag song “White Minority”, which they want to claim is “ironic” (sure…), Minor Threat’s “Guilty of Being White”, the anti-welfare screed “Public Assistance” by Agnostic Front (actually the vocals kinda suck on that song), the pro-Republican ra-ra chant of “California Pipeline” by Murphy’s Law, the blatantly nationalistic “U.S.A. for U.S.A.” by Carnivore, the similarly nationalistic “Bomb the Russians” by Fear or the Type O Negative songs “Der Untermensch”  and “Kill All the White People”, which IS ironic and funny!

As you can imagine, I enjoyed pissing people off.  HOWEVER, there was one, big, stupid, hypocritical catch to this.  Bands can write all the stupid, hateful lyrics they want as long as they’re not REALLY “racist”, “sexist” or “homophobic.”  Of course, in the world of punk rock, the “real” racists were big, linebacker built Nazi Skinheads, and with Detroit’s  racial makeup, you could reasonably expect an equally fierce reaction to the slummy conditions of majority black neighborhoods and increasing black crime; Detroit Nazi Skinhead are NOT posers that are out to shock their friends and families.  Several members of the Detroit based band Angry Aryans either served or are serving prison sentences.  I saw a whole bunch of them doing Nazi salutes at a Danzig gig.  I saw a guy get beaten down for wearing dread locks and white laces in his Doc Martens.  I saw a couple of ugly situations where known anti-racist, pro-antifa bands Napalm Death and G.B.H. played at Harpos and Nazi Skinheads tried to ruin both shows by beating up on audience members.  It was a real mess back then.

Little did I realize back then that, these thug, shitheads were sociopaths at best or just dumb losers with nothing going in their lives at worst.  Many would end up in prison soon enough.  Of course some are completely reformed and I’ve talked to a couple who were flabbergasted to hear a Jew says he’s okay with the 14 part, just not the 88 part.  Just ask Wendy!  She told this one old skinhead guy, “Edwin’s really right wing, and he’s a Jew”, to which baldy said, “isn’t that an oxymoron?”

After going to college, I saw how much the zeitgeist had changed, how thanks to the cultural Marxist takeover of punk rock, the definition of what constituted “sexist”, “racist” and “homophobic” became narrower and narrower.  For instance, in the Dead Kennedys song “Religious Vomit”, Jello Biafra says “All religions make me wanna throw up/all religions make me sick”, yet he has never once protested the most hateful religion of them all, Islam.  In fact the only band from the leftist/anarchist punk world that has had the guts to say anything about Islam is Conflict, who wrote the song “An Option”, in which they suggest not granting sanctuary to immigrants from Muslim countries.  I asked a left wing punk buddy if he found the song to be racist, and unsurprisingly he did.

Hypocritical leftists – “atheists” who only attack meek Christians, feminists who only attack straight, white men, but refuse to acknowledge the real rape culture of the Muslim world, SJWs of all shapes and sizes – might explain why I became more right leaning in my views, but having conservative views is not the same as claiming support for the controversial Alternative Right.

Although Gavin McInnes did a superb job with his “guide to the right for dummies”, I think a more accurate way of looking at the right is like this:

Mainstream Right: Center right channels like Fox news and magazine such as National Review count as this.  To AltRighters, these would be called “cuckservative” outlets.  They extol the virtues of capitalism, strong national defense, free speech and 2nd amendment rights, they question the global warming/climate change narrative, but then take every precaution possible to not be called racist as if getting tagged with the scarlet “R” is worse than being a rapist (to SJWs, it really is), and you’ll never find any real discussion about how to quell illegal immigration.  They can’t stand Donald Trump for the most part – Greg Gutfeld, I’m ashamed of you! – and fire writers and contributors who they think “crossed the line”, such as John Derbyshire.  When pundits at Fox discuss Islamic terror, they won’t actually say the problem IS Islam.

Edgy Right: These would be commentators like Steve Crowder, Lauren Southern, Milo Yiannopoulos, Ben Shapiro, Bill Whittle, websites like Breitbart.com and Rebel Media and radio show hosts like Mike Savage and Mark Levin.  They don’t pull punches in telling you that there is no white privilege, that the Islamic religion is not one of peace, that multiculturalism hasn’t lived up to its promises and they give tacit approval for Donald Trump (except for Ben Shapiro, who seems to enjoy bashing Trump any chance he gets), while also touching on all the other right wing talking points.  People on the left call them “racist” all the time, yet they themselves make absolutely sure that you know they don’t support the “real racists.”  They too get called “cuckservatives” from time to time for reasons among which include not fully admitting that the reason places like Detroit and Baltimore are shitholes is not because of unions, but because black ghettos are fucking violent.

Alternative Right: These would be websites like Takimag, VDARE, AlternativeRight (obviously), Return of Kings and commentators such as Richard Spencer, Jared Taylor, John Derbyshire, Matt Forney, RamZPaul, Bernard Chapin, RockinMrE and Roosh V.  They just say what they want with no thought given whatsoever to who it might offend.  Some identify themselves as race realists, some identify as white nationalists, some identify as just American nationalists and some don’t identify with any group, but are just into “telling it like it is.”  One week I’ll agree with Jim Goad on this article about black reparations, then the following week, I’ll have to take it on the chin and read about how the story of Israel isn’t the rosy picture that Tea Party conservative commentators like Bill Whittle claim it to be.  Or how I’ll agree with a lot of what Roosh V says about feminists and liberals at Return of Kings, only to be delighted with this review of Kevin McDonald’s book The Culture of Critique, which I’m not necessarily opposed to reading.  And the cool thing is, because there is no thoughtcrime, these guys often don’t agree with each other.  One perfect example is how John Derbyshire, who got fired from National Review for writing this article, which, shall we say, doesn’t speak too highly of black people on a whole, believes that Kevin McDonald is a little too obsessed with his dislike of Jews.

Sometimes it’s a relief reading posts from Gavin McInnes, Kathy Shaidle or David Cole; they’re the slightly more “PC” ones at Takimag.  I can read their articles and say, “whew, this one won’t mention how Jews own 61% of the media.”  Vice magazine creator Gavin is the only “crossover” that I know of, often appearing on Greg Gutfeld’s show.  I sometimes joke about attempting to ruin Gutfeld’s career by spilling the beans that Gutfeld associates with the writer of a “hate site.”

Websites like AlternativeRight, Return of Kings, The Right Stuff and The Daily Shoah have already been registered under the SPLC as “hate sites.”  But, what really strikes me about these sites is that they’re not your standard issue white supremacist™, “gas the kikes”, David Duke fodder like stormfront.com.  For instance, I have never read a white nationalist article before that was also pro-Israel.  I never, in my life, thought I’d be listening to something called The Daily Shoah.  But, if I’m going to be 100% honest and set ideology aside, 1. it’s actually a pretty funny title, 2. the people who talk on it are intelligent and knowledgeable and 3. they took the retarded “Are You a Nazi Quiz” from the AddictingInfo.com, where it erroneously compares conservative views with Nazi ones to imply that conservatives are no different than the followers of the Third Reich, and they completely skewer it.  I was on the floor laughing.  I believe I referred to me and my fellow Jews as the “hooknose cabal” for an entire week.  One of the guys at The Daily Shoah even said, “if I HAD to choose between kikes and sand niggers, I’d choose the kikes.”  Thanks, bro, that means a lot!

The bottom line is that the Alternative Right takes the narrative away from the left.  It takes the notion of the ad hominem attack that the left is so good at using, locks it in a closet and tortures it to death as it screams for its safe space.

 

 

SavageHippie’s Top Ten Worst Films of All Time

Film-Reels-1986

Note: I’m no longer in L.A.  The rest of article remains the same.

I’m still in L.A. and I’m trying to figure out how to get to the Museum of Death, but, in the meantime, since I am in the home of the American film industry, I decided to list off the ten absolute worst films of all time.  Now, I watch a lot of movies that would be considered “bad” by normal person metrics; exploitation, Eurotrash, old horror, the entire Something Weird filmography, so my threshold is different from most people’s.

That means that, for me to consider a movie legitimately bad, it has to actively offend me.  In that way, I’m no different from Roger Ebert  or Gene Siskel, who award “zero stars” to films which are not “bad” in the traditional way, but offend whatever moral code they prescribe to.  Of course their ideas of morality and justice are different from mine in a lot of ways, so I’ve actually enjoyed many of their “zero star” films, among which include the mondo Africa addio, the futuristic race car splatter classic Death Race 2000, the rape/revenge flick I Spit on Your Grave and the Bob Guccioni produced Caligula.  Hell, Quentin Tarantino said rather enthusiastically that one of their “zero star” films, the slavery drama Mandingo, is the only exploitation flick ever produced by a major Hollywood studio.  And you best believe that Taraninto’s inclusion of Mandingo fighters in Django Unchained had little to do with attempting to be historically accurate and more to do with paying homage to the 1975 film.

So, what are MY “zero star” films?  What films are so stupid, awful and offensive that I would award them a grade of zero if I were to write film reviews for a major newspaper?  Read on and see!

10.) Crash (2005)

Not to be confused with David Cronenberg’s 1996 film of the same name, which is about sex and car crashes and based upon a work by J.G. Ballard, the 2005 film, which was directed by Paul Haggis, is one of the most idiotic, pedantic and in your face treatises ’bout dat racism.

It’s hard for me not to like a movie where a big time rapper says, “dawg, there’s a dead Chinaman under your car”, but somehow, this movie managed to elicit that response.  It’s just an Altman-esque pastiche of interweaving stories, all of which involve major Hollywood actors yelling lines where they say a bunch of generic “racist” stereotypes.  There is almost no real acting involved in any of it and the stories are so damn stupid and predictable, that you wonder if this wasn’t intended to be a made for TV special.  For instance, Matt Dillon plays a racist cop, who then saves a black woman.  Why is he racist?  He just is, ya know.  Did saving the black woman’s life make him un-racist?  I dunno, maybe.

9.) Dead Man Walking (1995)

This two hour anti-capital punishment propaganda film was directed by Tim Robbins and stars Sean Penn and big boobed commie pinko, Susan Sarandon.  Sarandon is the nun and tries to comfort Sean Penn, who is a neo-Nazi about to be killed on death row for murdering someone.  At first you think Penn is a bad guy because he killed someone, but then you realize he’s also a human being, so he deserves sympathy.  Sarandon tries to drag this sympathy out of the victim’s family.  Why would she do such an obviously inappropriate thing?  I dunno, because he’s got blood and veins and eyeballs and bones and feet and hands and skin.  Oh and he said he’s cool with Martin Luther King, Jr., so he can’t be all bad.

8.) Guess Who’s Coming to Dinner (1967)

It’s hard for me to really hate this movie since it’s pretty entertaining, but the message from antiquated, ’60s liberal Stanley Kramer is so dumb and obvious, that I feel the movie doesn’t have a right to be so fun to watch.  Sidney Poitier is a black doctor who wants to marry a white woman played by Katherine Houghton.  Houghton’s San Francisco dwelling, liberal parents, Spencer Tracy and Katherine Hepburn, are challenged by the notion of their white daughter marrying a black man.

Eventually everything works out, but what’s really grating is the notion that the only challenge the movie presents is skin color, which the white liberal family (and, to some extent, the black family) needed to “overcome”; their fairy tale narrative involves a woman marrying a doctor, not say, a member of the a Black Panthers.  And while, I’m not saying every black person is a member of the Black Panthers or is some kind of shifty, shady character who whites distrust, I am saying that I highly doubt liberal parents care THAT MUCH about skin color and skin color alone, with something like the Watts or Detroit riots fresh on their minds.  Be honest here; is the black/white divide based purely on skin pigmentation and on one group of people simply not liking the other because of it?  Is that REALLY the issue here?  Who knows; maybe it was more relevant then and parents really did say, “you’re bringing home a b-b-black?!”

7.) Forrest Gump (1994)

I have a feeling the lovable retard, Forrest Gump, as portrayed by Tom Hanks, is really supposed to be the everyman.  Don’t think for yourself, just let yourself be guided through life and everything will work out fine.  On the other hand, if you do think for yourself, you will die of AIDS.  Nowadays, given our modern zeitgeist, Forrest Gump might be remade with the roles of Gump and Jenny switched.

6.) Mr. Smith Goes to Washington (1939)

Considered an all time classic of American cinema, in which quiver-voiced James Stewart stands in front of the evil, mean-spirited, probably Republican senate for twenty hours and doesn’t back down until they decide to build a camp for boys.  What the camp is for, I’d rather not guess.  Apparently not wanting to spend tax payer dollars on this camp rather than a dam is what is considered “political corruption” by the standards of even then liberal Hollywood.  I’m not a huge James Stewart fan; I often times find him to be more annoying than charming, but he’s been in some classics, such as Hitchcock’s Rear Window, The Man Who Knew too Much and Vertigo, George Cukor’s comedy classic The Philadelphia Story and Capra’s very own It’s a Wonderful Life, but this overly long, preachy, one-sided pile of propaganda is not one of them.

I scrolled through six IMDB pages of 8 to 10 star reviews before I found this two star review from an IMDB user named “lutheranchick”, who writes:

This film is a study of a Good Guy, who wants funding to start a national boys’ camp for the “Boy Rangers”, going against the Bad Guys, who want to build a dam on the same land only for their own selfish interests (not hydro-electricity or anything, you fool). You may ask why taxpayers would want to pay for a camp only a few of the nation’s boys could live near; you may ask why the camp couldn’t be built on a different piece of land; you may ask why a private organization should get federal funds; you may ask if there were any issues that constituents would have found more pressing. Well, apparently that’s because you’re one of the Bad Guys too.

Couldn’t have said it better myself!

5.) Bamboozled (2000)

I really despise Spike Lee and his race baiting bullshit.  As much as I enjoyed Do the Right Thing, I DO NOT feel that Mooky “did the right thing” by throwing a garbage can into the window of the pizza shop, and neither do several of my otherwise, sympathetic liberal friends who will run mental gymnastics to rationalize how “that’s not what Spike Lee meant.”  Sorry kiddos, Spike done think you haven’t self-flagellated enough.

Bamboozled is basically a loose remake of the 1976 Sidney Lumet classic, Network, only it’s loaded with old-timey, black racial stereotypes.  This is apparently to send a message that not much has changed and blacks “iz still enslaved to the white man” (well, actually Jewish man according to Spike Lee, but now he’s relegated to saying “white” instead of “Jewish” because we taught him what’s what when he complained about how Jews control Hollywood… only 61% of Hollywood, sheesh).  I actually like old-timey looking stuff, such as old toys, post-cards and cartoons, that have stereotypes of blacks and Asians, not to mention old Nazi propaganda with the hook nosed, Jewish ogre guy, so I guess I got the wrong message out of the movie.

4.) Every white teacher in an inner city school movie ever except for The Principal

Whether it’s Blackboard Jungle from 1955 or Dangerous Minds from 1995, the story is the same.  A white teacher/principal/superintendent from the suburbs comes to an inner city school and learns that, for this bunch, education is the last thing on their minds.  At first the teacher is cynical because, gosh darn it, these kids JUST can’t be taught!  But, through patience and teaching things on their level, in a way they understand, we can turn around this depressing situation.

Of course, in all of these, there will be the bad apple who just can’t be reformed because these movies have to have an ounce of realism.  That’s why the only teacher movie I like is The Principal with Jim Belushi, where the bad kid is played by Michael Wright, who was later in the HBO prison show Oz and he’s REALLY bad.  He ties a kid to a rope by his feet and drops him through the glass ceiling.  Someone that homicidal can’t be reformed.

3.) American History X (1998)

I read somewhere that Edward Norton slammed in the pits of the early ’80s D.C. hardcore scene.  So, it’s not surprising that, just like Ian McKaye turned the hardcore scene into a humorless, PC cesspool, Edward Norton allegedly imposed his vision onto director Tony Kaye, or at least that’s what I’ve read.  I don’t know if, without Norton’s meddling, American History X would have been as good as the far superior Romper Stomper; it’s for damn sure not nearly as fun as Graydon Clark’s 1989 film, Skinheads: The Second Coming of Hate.  The point is a lot of people really like American History X.  The typical defenses for the movie are that it’s “powerful” and “bold” and “the performances are good.”  Well, yeah, Norton and Edward Furlong do a good job.  But at what?  A guy I went to college with named Kip told me that the movie “tricks you into being racist.”  What he meant was that, during the scene where the skinheads challenge the thugs at basketball, they dramatically pump up the music when Norton’s character takes the winning shot in order to make you feel like you’re rooting for him.  Wow, you’re racist now.

Basically the movie is a litmus test to see if you were duped by this stupid ass after school special.  Typical story, kid’s dad is murdered by blacks, becomes leader of neo-Nazi group, meets good black guy in prison, realizes not all blacks are bad – he was given six years in prison for dropping a TV during a robbery?  Why WAS he committing a robbery?  Yeeeahhhh – and then is no longer racist.  Of course the movie’s “big” scene is when Edward Norton curb-stomps someone who is trying to steal his car.  The car thief is black, Norton is white and has a big ol’ swastika tattooed on his chest, so, because he’s a mean, ol’ racist, Norton stomped the guy’s head into a curb.   Did Mr. Dindu-Thuggalicious deserve to have his head stomped into a curb?  No, of course not.  A couple bullets to the chest would have sufficed, as they would for the thugs in Detroit who twice stole my car.

2.) Schindler’s List (1993)

Am I so callous as to deny the world’s most successful filmmaker of all time, Steven Spielberg, his props for making such wickedly awesome films as Duel, Jaws, Close Encounters of the Third Kind or Raiders of the Lost Ark?  No, that would be foolish.  Those are great films in the action/horror/science fiction genres.  Hell, I even enjoyed Amistad solely for the violent opening scene where the slaves have the revolt and kill a bunch of people.  Spielberg, for all his child pandering bullshit, will put R worth violence on the screen.  Hell, the heart ripping scene in Indiana Jones and the Temple of Doom was cause enough for the invention of the PG-13 rating.  Actually that makes me wonder if there is a conspiracy; rather than have his audience diminished by an R-rating, Spielberg gets a whole new, not quite R-rating invented for him?

Anyway, somewhere along the line, Spielberg decided to do the Holocaust in three acts.  Filmed in gorgeous black and white – and with a gorgeous set of bouncy tits somewhere in the middle of the movie –  with all of the movie’s budget clearly on the screen, Spielberg tells the tale of how Oscar Schindler (Liam Neeson), the Nazi with a soul, saved 200 Jews from the gas chambers.  Schindler’s foil is Amon Goeth (Ralph Fiennes), the evil, scary, “mwahahahaha”, Jew-killin’ super villain.  Stanley Kubrick complained that the movie focuses on the 200 Jews who were saved and not the 6,000,000 who were killed, but I think the real problem with the movie is that it’s basically a typical three act adventure story with every single Holocaust trope driven into your face for three obnoxious hours before it has an emotional orgasm of “I COULD HAVE SAVED MORE JEWS!!! I’M NOT AS GOOD AS I THOUGHT I WAS!!!  THIS IS THE PART OF THE MOVIE WHERE EVERYONE IS SUPPOSED TO HOLD EACH OTHER AND CRY!!!”  Of course, every tear jerking, white guilt fest needs to have its “crux” moment and, just like American History X had its curb stomping, Schindler’s List had the little girl wearing the red coat atop a pile of dead bodies.  That way you know, with ABSOLUTE CERTAINTY, that the Nazis weren’t just bad; they were REALLY bad!

1.) Higher Learning (1995)

John Singleton started out okay with the 1991, “you killed mah BABY!!!”, ghetto drama, Boyz n the Hood, then followed with Poetic Justice, which I haven’t seen, but there’s a reason why Singleton was eventually forced to direct crap like 2 Fast 2 Furious or the Shaft remake, and I believe the problem starts with Higher Learning.  Basically Higher Learning is like a Spike Lee film for retards.  Like Lee’s films, it has a whole bunch of characters doing a bunch of stuff and then it somehow comes together in the end.  Unlike Lee’s films, the characters are one-dimensional caricatures, whose plot trajectories leave one with the basic conclusion that “whity iz the devil.”  I mean, Lee’s films do the same, but they, at least, seem deeper.

Higher Learning takes place at a university, hence the clever title, but all that is learned is that Ice Cube is an asshole, which is okay, because he’s black, and he bullies Michael Rapaport, who, after banging a Kristy Swanson, who cries “rape” in the middle of sex and then becomes a lesbian at the guidance of Jennifer Connelly, turns into a neo-Nazi at the guidance of Cole Hauser, and goes on a shooting spree at the end.  Omar Epps, Tyra Banks, Jason Wiles, Laurence Fishburn, Busta Rhymes and Adam Goldberg round out the cast.

The thugs beat up the Nazis of course, because blacks are the heroes and whites are not only the villains, but also don’t have enough “street” to know how to REALLY fight.  Adam Goldberg has a gun pointed in his face and jumps around and whimpers because Jews are pussies.  The other white guy, Jason Wiles isn’t bad, but he’s naive of the black situation, just like every well-meaning white guy.  And Tyra Banks gets shot at the end because someone needed to get shot by the evil, gun-toting neo-Nazi, so why not make it her?

 

 

Super Hot Anti-Feminist Launches #theTriggering

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Gorgeous – and yes, it’s absolutely essential to bring attention to how a woman looks before she expresses her opinion about something – Libertarian Commentator and anti-feminist activist Lauren Southern has launched a hilarious and hilariously juvenile movement designed to attack Social Justice Warrior crybabies, who have taken an unprecedented level of control of the dialogue in this and other Western countries.  The movement, set to launch on March 9th and 10th is called #theTriggering, and the concept, from my understanding is pretty simple: to be as offensive as possible in order to drive crybaby SJW’s off the internet or just totally insane as sort of a way to tell them that it’s time for them to stop policing every word that comes out of a person’s mouth, especially if that person happens to be white, straight and male.

And the concept is as beautiful as Lauren Southern’s smile.  Not everyone feels exactly like everyone else – the fact remains kiddies that there are people who don’t like blacks, people who don’t like gays, people who feel the white race is the best race, people who don’t like Muslims and prefer they’d leave that evil death cult before becoming a U.S. citizen, people who don’t like Jews, people who want to see every illegal immigrant kicked out of the U.S., people who want to see our borders shut completely, people who feel women should be in the kitchen making sandwiches and, if we live in a truly democratic society, we acknowledge that, as unpleasant as some views may be, we can’t simply shut people up who have them.

Unfortunately, the only thing SJWs want to do is shut people up.  How DARE you not agree with every single thing they think?  Don’t you realize that blacks were slaves 150 years ago and the residue of that slavery can be felt any time a white person so much as questions the effectiveness of affirmative action?  Don’t you realize women couldn’t vote until 1920 and that, any time you question why women overwhelmingly vote for bigger government, you might as well go back in time and sabotage the suffragette movement?  Don’t you realize that, if you have a view that is not in complete concert with theirs, you’re a sexist, racist, homophobe and, now I guess Islamophobe even though Muslims are about as sexist, racist and homophobic as they get, but we give ’em the pass because… WHY?!

I’m not here to discuss Islam; I do plenty of Muslim bashing in other articles, so I’ll stick to SJWs.  If feminist harpies or BlackLivesMatter activists were just derelicts that yelled at you on the street and people just ignored them, then that would be one thing.  However that is not the case.  The fact of the matter is that these people have turned Universities into a joke; they have forced professors to resign; they think it’s acceptable to take down pictures of historical figures because those figures held beliefs that were common then, but would be considered hateful now.  And the establishment is balking!  In no other time in history would two feminist activists be invited to the U.N. to discuss how to censor any criticism of their bogus attack on the video game industry.  Yet, it happened!

But, there’s a catch to all of this.  There is no safety net or safe space for your beliefs.  In other words, when someone points out that Jews control 61% of the Hollywood studio system and try to drive a narrative, such as with what looks like the absolutely retarded (And yes, I’m judging it even though I haven’t seen it nor plan on it) new movie Race, about 1936 Olympic runner Jackie Owens as some sort of struggle on his part against the prejudice of the Nazis, you have to, at very least, not take it as a personal affront.

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PC is the work of the devil… no, not the devil, because then it would make it something kinda cool… it’s actually the work of cultural Marxist engineers, who, after realizing that their Marxist, egalitarian society didn’t work in industrialized countries, where people could buy cool shit, had to invent the notion that there was an oppressor and an oppressed, while completely ignoring the history of the rest of the world.  Then, the government could come in and “equalize” everything, whether it be with affirmative action quotas or forcing the military to lower its standards to allow the weaker gender to participate, all while influencing the media to blame the shortcomings of the so called oppressed groups on straight, white men.

So, here we are in 2016 on the verge of complete social and cultural collapse.  In 1967 American Nazi Party leader George Lincoln Rockwell spoke at UCLA.  Can you fathom that happening in 2016?  To have a David Duke or Tom Metzger speak at a university?  I’m not saying these are people whose views I agree with or espouse; I’m saying, in a truly free society, you let them have a chance to voice their opinions and allow people to decide if they agree with them or not.

Some may argue that we “shitlords” are nothing but overweight, annoying losers who are home on a Friday night, chomping down Dorritoes and wouldn’t be bothering with this nonsense if we had a woman as hot as Lauren Southern to take out.  On one hand, they have a point; pissing people off is a whole heck of a lot of fun, like when I teased the fuck out of these feminists who got all angry about the band Black Pussy last May.  But, there really is a point to this.  Well, for one, I’m not overweight and two, it’s not a Friday night; it’s a Wednesday night and that Jew fag Josh hasn’t contacted me to go to the local sports bar, where we can ogle the girls that have the big booties and wear the black tights.

But, there’s an even bigger point to this: whether your economic views are right, left or center, your social views should always be towards allowing an open dialogue no matter how offensive or “triggering” that dialogue may be.  Political correctness is not just a roadblock for comedians to have fun at the expense of the less fortunate; it’s quite literally the death knell of the ability to discuss actual problems with any sense of honesty, to address the elephant in the room, to tell your fat female friend that the reason men pump and dump her is not because of the color of her hair or the way she laughs, but because she is fat.

 

 

How I Stopped Being an Elitist

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I was a bit surprised when, in both Bernard Chapin’s video review and Matt Forney’s online review for Aaron Clarey’s latest book, The Curse of the High IQ, they mention how Clarey refers to sports entertainment as “sportsball”, a popular colloquialism that is typically used to describe sports as entertainment for the plebes.  I was under the impression a person like that would have a less cavalier attitude towards people who love sports and other popular entertainment, and that it is people on the left who judge people and call things “sportsball”; not to mention calling the people who enjoy it “dumb bros.”

Let’s get one thing straight; I may have tattoos, I may listen to weird underground music that nobody’s ever heard of, I may watch a bunch of cult films that nobody’s ever seen, but, when I go out, I would rather hang out at my local sports bar, watch sports on the TV, drink a stout, scarf down chicken wings and have said beer and wings served to me by a hot waitress, who wears black tights and a low cut tank top.  I’m over the era of my life where I want to sit in a dimly lit quasi dive populated by arty hipsters.  The fact that said bar will have a jukebox filled with the music of hip bands like Can, Captain Beefheart and the Fall DOES NOT MATTER to me AT ALL.  I literally DO NOT CARE if other people share my taste in music, and chances are these same people probably wouldn’t jam out to ZZ Top, Aerosmith, AC/DC, Ted Nugent, UFO, the Scorpions or Deep Purple, bands I like just as much as the approved “cool” bands in the post-punk, post-hardcore, kraut-rock and noisy indie rock genres.

Furthermore, I do not care if a girl I sleep with/date is a total “sportsball” loving, reality TV show watching bimbo, a military history buff who shoots guns, a tattooed metal chick with an Acid Bath patch on her denim vest or a glasses-wearing book nerd.  I’ve had all of these varieties and realized that the only things that matter to me are whether the girl is attractive and fun to be around.

So, where am I going with all of this?

I realize that, at age 31, I was smarter, cooler, funner and more accepting of people when I was in high school, than during my college years when, all of a sudden, I attempted to be an elite “cultured” person.

I was reading a negative review on Netflix of Luis Buñuel’s 1972 classic The Discreet Charm of the Bourgeoisie and, while I believe whoever reviewed the film had the wrong idea that it was explicitly meant to diss the “bourgeoisie”, I believe that a good amount of younger people who are fans of the film believe that it is in fact supposed to be Buñuel’s “fuck you” to the rich, rather than just a charming series of surreal vignettes.

Y’see, arty hipstery people are leftists and they hate the rich, the 98%, yet, at the same time, fail to realize that the average working Joe would prefer to watch a super hero, CGI-filled Hollywood blockbuster rather than The Discreet Charm of the Bourgeoisie, and that, in effect, would make the very people leftists are allegedly trying to help the target of their ridicule; in other words, the rank ‘n’ file are all idiots who would rather watch that “sportsball”, yet we want to help them.

And, sadly, though I was never a full on leftist, I had a similar view of people who I went to college with that didn’t share my tastes; people who didn’t watch countless hours of films by Godard, Truffaut, Fellini, Tarkovsky, Passolini, Bergman, Herzog and Bresson or read thousands of pages of Faulkner, Hemmingway, Doestoevsky, Proust, Joyce, Camus or Balzac or didn’t spend thousands of hours filling their ears with the sounds of Can, Kraftwerk, Neu!, Faust, Public Image Ltd., the Fall, Devo, Miles Davis, the Birthday Party, Einstürzende Neubauten or Captain Beefheart (ya know, smart people music).

On top of that, I convinced myself that I had to date “smart”, arty hipster chicks who wore the black rim glasses, had a pixie cut and wore skinny jeans and T. Rex t-shirts.  I cannot believe how hot the girl I was dating back in 2007 was.  If I could turn back the hands of time and do it over again, I would have been waaay more grateful for what the arbiters of sex had given me; a hot, blonde, boob enhanced ex-stripper, who wore a super short, denim skirt that revealed killer, worked out legs to boot.  She had the comforting personality of a stripper, the kind where she puts her hand on your knee and leans in to talk to you, sending shivers up and down your spine even though she only means it as a friendly gesture most of the time.  And she was like the ultimate bedroom slut.  Without getting too graphic, virtually nothing was off limits.  And she was ready to bang ANY time!

But, at the time, I thought I was above dating a blonde, former stripper airhead – just so you get an idea of how much of an airhead she was, she did fill-in puzzles, crosswords puzzles where they just give you the words, in her spare time and virtually knew nothing about politics, history or what was going on in the world – so, I didn’t take it seriously, just biding my time, while secretly feeling I should be with that kinda cute, nerdy looking hipster chick.

BOY, would do that over!

And then, after I left school, I began to realize how stupid all of that was.  Well not right away; what really helped me realize that I was being an elitist mangina was when I lived with Chris in Ypsilanti.  He took being an elitist, hipster, feminist pandering mangina to whole new heights that I did not think were possible.  At an age where I decided that the Bergman and Fellini can rest alongside the John Carptenter and Wes Craven, that I can be a fan of Can and Public Image Ltd. along with Slayer and Metallica, Chris, who is several years older than me, would still make snarky comments about my musical taste and try really hard to appease some of the local feminist hipster bitches.  On top of that, he would try to make me look stupid for having a sex drive!  Once he was talking about going to a “burlesque” show, a form of entertainment that allows manginas to look at naked women with impunity, since there’s an “arty” context behind it; burlesque shows have old time-y clothes, old time-y jokes, old time-y music and the women do an old time-y strip tease, rather than the pole dancing and dick riding that goes on at Deja Vu’s.  I say to Chris, “oh cool, do we get to see Amy naked?” and he responds with, “you’re into that sorta thing, aren’t you?”  Like, aren’t you, dude?  Last time I checked you are a heterosexual?  I know this because I actually played matchmaker in one case.

But, I digress.  The point is that people like that make you realize how dumb it is to look down on people who have different tastes from you.  I actually respect people who can nerd out on sports statistics the way that I can nerd out on bands or movies.  Although I made the point in an another article that, given the law of large numbers, you should judge a book by its cover, you might be surprised by what different people can show or teach you if you have an open mind and quit judging people by their tastes in music, movies, literature, women or their love for “sportsball.”

 

Maybe Women Just Aren’t That Into Metal

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Nope, not thinking about how she looks at all!  Totally just admiring the playing of Alice Cooper’s guitarist, Ms. Nita Strauss!

What do comic books, science fiction, roll playing games, anime, video games and heavy metal all have in common?  Think really hard about it.  So, where most intelligent people, I would think accept the fact that men will outnumber women in all of these nerd intensive hobbies by default, there will still be that Social Justice parasite, that interloper that exists for the sole purpose of ruining the fun and joy that these things bring by accusing their practitioners of not being inclusive enough.

I stumbled upon this article titled “Metal’s Problem with Women Is Not Going Away Anytime Soon“, written by a Kristy Loye for the Houston Press.  With her obviously lazy research and her almost entirely complete lack of knowledge or insight, she levies some strong accusations against the metal genre and the people who listen to it.

In the article she concludes that:

Many bands either openly encourage violence against women or fail to support legitimate female fandom, but it certainly doesn’t end there. Female metal bands are rarely booked on national tours and practically ignored by the media — and worse, the ones who make it that far get ridiculed or sexualized.

In other words, as of November 11, 2015, according to the article, metal has their proverbial Jodi Fosters up against the pinball machines.  Now, how much does the article reflect reality?  Before one even gets to the actual article, there is a picture of a band called Halestrom, who feature three faggy looking guys with nice, swooping hair cuts and a hot broad with fantastic legs, wearing those hot patterned tights that do wonders for my libido.  Beneath the picture, the caption reads: “Question: how many metal bands featuring female members — besides Halestorm, shown above — can you name?”

Let’s see.  I can name Girlschool, Rock Goddess, Bitch, Bolt Thrower, White Zombie, Blood Ceremony, Kylesa, Electric Wizard, Acid King, Arch Enemy, Huntress, Demonic Christ, Triptykon, Nashville Pussy, Jucifer, Madam X, Lita Ford and, if we want to plumb the depths of shittyness, we can even dredge up nu-metal bands like Kittie and Otep just to prove this point.  But, what point are we trying to prove?  That metal music doesn’t have enough women participating in its creation?  That this in and of itself is some sort of indication that the metal genre, as a whole, is deliberately trying to keep women out?

She then continues with this “observation”:

Even metal fandom is exclusive. Women who are metal fans come under the constant scrutiny of male metal fans, and have their motives questioned. They’re either assumed to be a poser or a girlfriend, no more than a fan by association. Often they must prove their fandom to suspicious men who require authenticity. Ridiculous.

Is that how it is?  Because, this very weekend, I was at the mighty Detroit metal/hardcore/noise/whatever festival called Berserker fest, which a.) was run by Child Bite singer Shawn Knight and his wife Veronica, b.) had plenty of women at the gig, c.) had no instances that I recall where men accused women of not being “legit” and d.) involved me partying and drinking with two metal loving women, my friend Wendy and the mighty Dawnowar, former fan club operator for Manowar.  And if there’s one band a person can claim to be blatantly sexist, it’s them.  According to Dawnowar, her experience working with Manowar might have involved quite a bit of assholishness on the part of embarrassingly not-self aware bassist/spokesman Joey Demaio, but sexism and sexual harassment were not part of her experience.  And we’re talking about the band who wrote this song:

But, assuming that is the case, where women are scrutinized more heavily to see if they’re truly part of the club or not, that’s par for the course.  Metal – and we’re talking the more extreme side of metal, not mainstream hard rock bands like Def Leppard or Motley Crue – is an outsider form of music.  Outsider music, art and hobbies always attract more men than women.  Studies show this.  In fact, you’re more likely to find women who listen to extreme metal than who like the confusing, often messy sounding jazz-fusion noodlings of Frank Zappa or Captain Beefheart.  Sure, you will find women who are into these things, but, if we’re going by the law of large numbers, it’s not as likely.

Then of course the author brings up the obligatory “objectification” argument:

For many years, metal’s message to women has been one of assignment: you can be a groupie, but not a fan or serious musician. It has failed to support women in any capacity besides as live props — objects, not subjects. It’s also guilty of encouraging a Hooters-like, bikini-model, stripper-girl atmosphere in general.

Maybe that attitude was more prevalent among glam metal musicians, so she’s not even really attacking her intended target, since anyone can attest that none of what she described happens at thrash, death, doom or black metal concerts (I wish it did, though!), but, if they did, there’s two things to say about this. 1.) When women decide to strip onstage or expose their breasts while perched atop their boyfriends’ shoulders in the audience, that is their decision; the band doesn’t make them do this.  In fact, a member of the Scorpions said that it is only in North America where this occurs.  On top of that, the groupie phenomenon is another example of the genetic differences between men and women.  Women who become groupies want to be groupies.  Popularity makes a man more desirable; or as Paul Stanley of Kiss once said, “we can do in one evening what several men spend weeks or months trying to accomplish.”  But, 2.) that “objectification” alone never prevented women from participating in music.  Lemmy, the biggest hornball of them all, still backed all girl band Girlschool simply because he liked them.  While, there aren’t many women in hard rock and heavy metal dating back to the 70s, except for maybe Heart, there has been considerably more involvement since then, and I still put the onus of becoming a musician and being in a band strictly on the women.

She continues with more tripe about female bands not headlining festivals and male fans not cheering for women.  Again, while the former is true; not many women headline metal festivals, it’s not out of some alleged discrimination; there just aren’t that many female musicians in metal and no festival promoter is going to top bill a band just to fill an affirmative action quota.  As for the second case, get over it; men cheer for bands they like regardless of the genitalia of the members.  If the members are attractive, then it’s a bonus.

And then comes the argument of the lyrics, which allegedly promote rape and violence towards women.  She makes some reasonable observations, siting some pretty damn violent lyrics by Cannibal Corpse.  But, does the band harbor an anti-woman agenda?  Are they trying to get their fans to rape and murder women?  Hardly.  I saw Cannibal Corpse once and singer George “Corpsegrinder” Fisher said onstage, “this one’s for all the ladies, it’s called ‘FUCKED… WITH… A… KNIFE!!!'”  Did the male audience members start fucking all of the women with knives?  No.  Did women feel that the male audience members would go and fuck them with knives in the parking lot?  No.  Has “Fucked with a Knife” by Cannibal Corpse led to a rise in husbands fucking all of their wives with knives?  No.  I maintain, that if you’re offended by what you hear, then don’t listen.

But, because the author of the article isn’t even good at cherry picking her “evidence” of a prevailing anti-female lyrical trend – I can find a few more examples of anti-female attitudes from metal bands, like the above Manowar song or just instances of violence towards women, such as in the rape themed, “Sex, Murder, Art” by Slayer – she sites the profanity free, PG-13 lyrics of Alice Cooper?!

The problem is nobody is taking offense to these violent lyrical themes. And if they are, they’re not speaking up about it. Alice Cooper was once quoted as saying, “There’s more blood in Macbeth than in my shows, and that’s required school reading.”

Yet there’s a stark contrast between the macabre theatrics of Cooper’s guillotine and lyrics that detail physically ripping open a woman through forced sexual contact and watching her die as a result. And even if Macbeth was bloody, it was a statement on the will to power and the attraction to corruption…and did Alice Cooper just compare himself to Shakespeare?

This last part about “forced sexual contact” is a lie.  The woman was dead for crying out loud!  And, on top of that, the theatrical piece was set to “Cold Ethyl”, a song about fucking a corpse.  So, if anything, her beef should be that Alice is promoting necrophilia!  But, on top of that, she has to throw in some slick, snarky condescension.  Alice indeed compared his show to Shakespeare, which was the popular entertainment of the Elizabethan era, and also featured some tasteless humor.  Alice has also been praised by Bob Dylan as an underrated songwriter, so you can take your “intellectual” credentials and shove ’em up yer arse!

Ah, but there’s hope after all!

Believe it or not, some bands do self-correct. Some men will stand up for women and understand that women can be equal partners in artistic expression, even in death metal. We love those men.

Speaking to Andy Marsh, guitarist for Thy Art Is Murder, he makes no attempts at backpedaling or defending the lyrical content of his band’s 2008 release, Infinite Death, which contains lyrics like, “I’m inflicting bloodshed upon bitches/ just because I hate the female race…women were born to be fucked.” In fact, he agrees they were abhorrent, and his level of discomfort with the band’s previous sexism was apparent.

Abhorrent?  How about just retarded?  But, feel free to “self-correct.”  Your lyrics will emancipate all of the women from this awful patriarchal society, in which women have their clits cut and are forced to wear burqas.

Even Whitechapel, due at Houston’s Scout Bar next Monday, has followed suit. The band responsible for such lyrics as “I ripped her fucking limb from limb,” from 2006 LP Somatic Defilement (“Vicer Exciser”), has now turned away from misogynistic lyrical content. It wasn’t easy move for a band named after the area of London where Jack the Ripper murdered at least five women, but the band felt it was a necessary move. (Right on.)

Right on!  Don’t ever sing about anything unless someone with a vagina approves of it.  You will be re-educated to think like them and they will arbitrate the correct things to sing about.

Metal is not alone in its ostracism of women — its close cousin, punk rock, was completely revamped 20 years ago. Back in the ’90s, female punk fans and musicians are credited for riding the third wave of feminism and forming their very own subgenre, Riot Grrrl, with bands like Bikini Kill, Bratmobile and L7, a spirit that even surfaced in Russia a generation later with the rise of Pussy Riot. When those women wanted opportunities in the punk scene that didn’t already exist, they simply created them. Yet even that scene wasn’t created in a vacuum.

This paragraph is a complete lie and further exemplifies the ignorance of the author.  Punk rock NEVER ostracized women and, since the mid ’70s, had more women involved than metal on both of sides of the Atlantic; Siouxsie and the Banshees, X-Ray Spex, the Adverts, the Rezillos, the Slits, Vice Squad, Penetration, the Runaways, Blondie, Patti Smith, X, the Germs, the Avengers and the Bags are just a few examples; those don’t even count New York noise rockers like Sonic Youth, Pussy Galore or Boss Hog.  Hell, if she wants to find the roots of all this turbo-slut, sex-positive feminist nonsense, she would do well to look up Lydia Lunch, the adorable looking, yet repulsively acting singer for Teenage Jesus and the Jerks.  The fact that the author makes such an audacious claim, yet doesn’t even know some of the bands I mentioned, makes me wonder if she even listens to music or if she’s just trying to ruin things with her Social Justice agenda.

And, in the final section of the piece, she mentions… ugh, War on Women.

It’s not just women who need to fight misogyny in music. War On Women’s Shawna Potter encourages men to take up the battle as well.

“While women [with people of color and the LGBQT community] must fight for our rights and humanity, men must also fight,” she says. “They must [fight] against the insulting notion that they are animals have no self-control. But first, they must see it as insulting, I suppose.

So that’s the name of the hot singer for War on Women, whose gyrations made me tight in the pants.

 

 

 

Why Are Annoying Feminist Bands Not Allowed to Have Tomatoes Thrown at Them?

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When I see the singer for the Baltimore based, feminist punk band War on Women (good fucking god), I don’t think about “smashing the patriarchy”, I think about smashing between the sheets.  Aside from those stupid, “tough grrrl” faces she makes, she’s got a good figure and made the smart choice of not doing her hair up in a punky style, letting it go all flowing and wavy. One would think a feminist punk band called War on Women would be some sort of parody, but this proselytizing, subtle as a sledge hammer nonsense is the real deal.  Watch this.

God, look at the leggings on that slut on the left.  And look at that all male rhythm section passionately bashing out a generic 4/4 pattern over which these sexy, young lasses can yell out their female rage.

Now, look, I’m all for the XX’s picking up the geetarz and bashing and smashing away just like the dudes do – I’m a fan of Girlschool, White Zombie, X-Ray Spex, the Slits, the Fall, Sonic Youth (even though their lyrics are retarded), the Adverts and the Rezillos, bands I listen to because of their music and not because of the genitalia of one or all of their members – but, once again, as the underground scene becomes more and more indoctrinated in Cultural Marxist, politically correct nonsense, the more we’re going to see bands like this who are “smashing” an imaginary patriarchy, when, in actuality, they’ve got Beta male orbiters just pining for their attention and white knights ready to protect them from “unwanted advances” at the drop of a hat.  In a scene that’s still dominated by men, being a woman, especially one that look like the ones pictured above, gives you unprecedented levels of control over the dicks of the men involved.

All that would be fine if they were just bloody honest about it!  Instead we get bogus articles such as this one from Bitchfork about the alleged “misogyny” in noise rock, singling out the band Rectal Hygienics, who I actually saw last night at Berserker Fest in Detroit.  I tend not to take an article seriously when it includes a line like this one:

As a person living in a genderfucked body that was assigned female identity at birth and has been mostly read as female by society since, Rectal Hygenics’ lyrics are exhausting and painful in a very visceral way.

Poor baby being born a WOMAN in a Western country where you don’t have to worry about having your clitoris cut, being forced to wear a burqa or becoming the victim of an honor killing.  She makes passing references to “Prayer to God” by Shellac and “No Pussy Blues” by Grinderman and acts as if respective singers Steve Albini and Nick Cave are doing something other than singing about praying to God that someone will kill his lying, cheating whore wife and her lover and the blues because he ain’t gettin’ no pussy. She then goes on to quote the “offending” lyrics of Rectal Hygienics:

“Spoiled fuck machine/ Think you’re on easy street/ You’re a slave to man and what he puts inside of you/ Stinking pack mule/ You smell like shit,”

Now these lyrics aren’t in the best of taste and I don’t know if they’re supposed to be for shock value or have a message or, in fact, even be understood at all because, when I saw them last night, I didn’t even hear lyrics; in fact, the singer wasn’t even facing the audience.  All I heard for 30 minutes was “vrrrrroooossshhh” and “pound, pound, pound.”  She does get one thing right though; they do seem like a blatant rip-off of tasteless Swedish noise rock gods, Brainbombs, who stole all of their lyrics from sick and tasteless “transgressive” shock writer Peter Sotos.  But that’s all besides the point.  Why shouldn’t “misogynistic” lyrics be allowed?  If she really stands by the mantra of “freedom of speech is not freedom from criticism”, then why is she trying to be the arbiter of what messages are “acceptable” in any genre of music?  Besides, what could she possibly have to complain about when she’s got a mangina band like Pissed Jeans emasculating themselves in the song “Male Gaze“?

it’s when a smile becomes a stare and it starts to burn
it’s when you ask him to knock it off and he doesn’t learn
the sad routine doesn’t change if he’s broke or a millionaire
there’s no getting through, that’s how it is
he’s never had to care
it’s when you’re judged before you even get to speak a word
it’s when you make the smartest point and it goes unheard
i’m not innocent – i’m guilty
i’m not innocent – but i’m sorry
it’s just the male gaze – it’s in me i know it
i feel it all around me – i wish i could destroy it
yeah it’s the male gaze – i’ve had it forever

Whoopdy-fuckin’-do!  Men look at women when they’re attractive!  Thanks for putting down your hammer on 100,000 years of evolutionary biology, ding bat!  On the other hand, Pissed Jeans is a solid AmRep revival band and I enjoyed seeing ’em live.  There was this super cute red head with glasses at the show in Detroit, but I was too much of a chicken to talk to her even though we shared a moment, making eye-contact, air guitaring and drumming in sync.  Chances are she probably would have accused me of trying to rape her if I talked to her, though.

But, at the end of the day, there is no “war on women.”  If you’re young and attractive and live in a Western country, the world is your oyster; if you don’t make stupid decisions, there is literally nothing easier than being a woman in Western society.  As Iggy Pop pointed out in “You’re Pretty Face Is Going to Hell”, you won’t be young and attractive forever, so, instead of complaining about how it’s a burden on your existence, why don’t you celebrate your privilege and sing about cool stuff like death and Satan?

She asks, “Are we supposed to sit back an [sic] appreciate this as ‘art’ for ‘art’s sake’?”  You’re not supposed to do anything.  In the words of Alice Cooper, “you are the only censor. If you don’t like what I’m saying, you can turn me off.”

And, for the guys, grow a pair and throw on Blood, Guts & Pussy by the Dwarves!