Edwin the Drunk and Lucy McGoldbergstein Approve RamZPaul’s Message

RamZPaul is not a racist.  There is nothing wrong with non-Jew honkies expressing pride in their culture.  They do it when they hold Renaissance Fairs and October Fests, and allow anyone to participate in these.  RamZPaul is simply saying that the United States should close its border and, while Jews should be happy to be Jews, they should not obsess so much over Israel any more than RamZPaul obsesses over Scotland.  This message should not be controversial.

Le Happy Merchant’s wife:
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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!

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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.

 

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

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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.

 

 

The Heavy Metal White Guilt Blame Game

phil_anselmoI was never an Anthrax fan.  Lord knows I’ve tried to like ’em because they sing about Judge Dredd and they had Mort Drucker from Mad magazine illustrate the back cover for their 1988 LP State of Euphoria.  But now I’m done with it.  Bald, goatee wearing, Jewish guitarist Scott Ian pretty much took the cake with his stupidity.  No, I’m not talking about how he’s a Bernie Sanders supporter “In spite how it’s throwing my vote away.”  I’m talking about his recent comment where he feels that former Pantera singer and fellow baldy Phil Anselmo should donate to the Simon Weisenthal Center to show he’s “sincerely sorry” (the article primarily features quotes from another goatee wearing baldy, guitarist Kerry King of Slayer, but Ian’s pathetic comments are at the end) for shouting “white power” and doing a Hitler salute at the end of the set at the latest Dimebash performance.

Now, in my humble opinion, doing a Hitler salute completely out of context in front of people you don’t know, many of whom may be of a darker skin tone, is a pretty boneheaded move.  Nobody is going to dispute that.  But, when you release a video such as the one below, where you’re practically groveling in the dirt and one step above kissing the boot of a black man in prison who is shouting, “who’s your daddy?” before bending you over as you shout “I deserve this!  I fucking deserve this!”, I think the matter should be completely forgotten.  I dunno, you be the judge:

Now, before I go on and continue to make my point about how stupid Scott Ian’s comments were, just take a look at this video.

Real great, huh?  Anthrax, the good time, non-serious, always smiling, party thrash band, shows that they’re ahead of the curve, they’re beyond mere political correctness, they’re so against racism, they’ll do a crossover music video with a notoriously racist and anti-semitic rap group called Public Enemy.  What’s that you say?  Public Enemy isn’t racist or anti-semitic; only Professor Griff is and they duly kicked him out?  Well, then why in the fucking hell is PE’s main man Chuck D singing “Farrakhan’s a prophet and I think you ought to listen to/What he can say to you, what you wanna do is follow for now”?  And yes, we’re talking Louis Farrakhan, the leader of the Black Nationalist hate group, the Nation of Islam, who have nary a nice thing to say about white people and especially Jewish people.

Only the leftest of leftists will contest that it’s not a double standard that, if a white band were to sing “David Duke’s a prophet and I think you ought to listen to/What he can say to you, what you wanna do is follow for now”, that white band would look like this:

Catchy tune, eh?  Eh, not really.  I know some people who like this band in spite what they sing about, but I think they’re pretty lousy.  That’s not the point though.  The point is that, without a doubt, there’s a double standard, where someone like Ice Cube can get away with singing “Or your little chop suey ass’ll be a target of the nationwide boycott/Juice with the people, that’s what the boy got/So pay respect to the black fist/or we’ll burn your store, right down to a crisp” or Beyonce can perform at the Superbowl with women dressed like Black Panthers and only a few inquisitive pundits will ask,”but why is one okay and not the other?”

So, that brings us back to Scott Ian and metal in general.  Either Scott Ian is ignorant of who Louis Farrakhan is or he felt that, for a black group, it’s perfectly acceptable to praise anti-white bigots because like the system’s all rigged against them and shit.  Underground music has been getting lefter and lefter.  Whereas punk rock in the 70s and 80s had a few leftist bands that yelled the loudest and were the most popular (actually that’s not entirely true.  The Ramones, Black Flag and Minor Threat are apolitical for the most part, but the Clash introduced Marxist concepts into punk, Crass introduced “anarchism” and the Dead Kennedys were the Jon Stewarts of punk), leftist influence has pretty much dominated the genre in varying degrees, and, since many a punk people now want to enter the field of metal and spread messages of “Social Justice”, the metal scene has also been progressively moving into the realm of political correctness.

I’m a music fan, so I really don’t have the whole Metalgate beef with a band like Cattle Decapitation singing their pro-vegan screed, especially when you can’t even really understand what they’re saying.  What I DO have a problem with is someone like Scott Ian becoming the arbiter of morality and trying to guilt trip Phil Anselmo even more than Anselmo has guilt tripped himself.  For the record, I’m not a Pantera fan as their brand of “groove thrash” and Anselmo’s tough guy, Henry Rollins-esque delivery never really appealed to me, but I respect Anselmo a WHOLE heck of a lot for launching the Housecore label and signing weirdo bands like Author & Punisher and Child Bite, for bringing completely non-commercial underground bands like Neurosis, Morbid Angel and Anal Cunt on tour with them so they could play in front of tens of thousands of people and for spending his hard earned cash on the Housecore music and film festival, giving wider exposure to underground artists and bands.  For crying out loud, he got Goblin, the Italian prog band who did the soundtracks for Suspiria and Dawn of the Dead, into North America!  He should be given some sort of award for that alone!

Now look, I’m no psychic, so I can’t get into Phil Anselmo’s brain and see if he’s truly sorry or if he’s truly “racist” and I really don’t think it matters.  The fact is, he clearly doesn’t want to destroy what he’s worked for for nearly three decades, because, if he did, there IS a fringe industry of white power labels like Resistance who would LOVE to have an endorsement from someone as well known as Phil Anselmo.  The point is that we’ve come so far down this path, that we forget that Tommy Lee went to jail for beating his wife, Ozzy Osbourne the same, that Vince Neill drove drunk and murdered Razzel, the drummer of Hanoi Rocks, that Gene Simmons has pumped and dumped 4,000+ different women without so much as a thought about how it might affect the young lasses’ psyche, that so many musicians have fathered illegitimate children, overdosed on heroin or spread HIV, yet the only thing that really enrages people is the thought that someone might cross that proverbial line of being a “racist.”  Oh, I guess people were pretty outraged over Garry Glittler’s child porn collection, but, even listening to his music is more acceptable than listening to the first Skrewdriver album, the one that doesn’t have any racist lyrics on it.

Now I’m signing out and going back to listening to Manilla Road, reading my Conan books and heading out for night three of Berserker fest.  Cheers and please watch this video from Some Black Guy where he condemns Anselmo’s actions while also completely disputing the concept of “white privilege” in our society.  Good man!

 

Is Leftism Really a Religion?

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Yeah, we say it all the time; leftism is a religion, a sickness and a mental disorder.  But how do we exactly go about proving that?  After all, if I adhere to certain views without an ounce of proof, someone could just as easily call what I believe to be pure zealotry.  And, to be fair, people on the right have done that very thing; Todd Akin comes to mind when he claimed women rarely get pregnant from “legitimate rape” as a defense for the pro-life stance.  And, boy, did the liberal media have a field day with that one.

Liberal and conservative are just concepts that have little meaning out of context.  After all, I DO stand for classical liberalism – free market, low taxes and economic liberty without much government intrusion – but, the modern left is anything but liberal.  It’s ironic that the leftists make fun of evangelicals so much when they hold to their views with a religious fervor that puts evangelicals to shame.  In order to maintain their narrative, they’ll defy any logic and fact based reasoning, and I shall demonstrate this with three basic examples.

  1. The alleged gender based gap in pay equity: 

    Feminists and leftists contend that women only make $0.77 for every man’s dollar strictly because of gender based discrimination.  Of course we all know that’s bullshit, so we tell these feminists that the reason women only make $0.77 of every man’s dollar is because, when women go to college, they choose fields that are less marketable, such as sociology, women’s studies and communications, rather than more marketable majors such as engineering or math.  They also tend to work fewer hours and take on less stressful, less dangerous and thus less well paying jobs.  In fact this Huffington Post article says that very thing, and, if that ain’t cognitive dissonance, then I don’t know what is.  Of course a reasonable person would then say, “oh, cool, so there isn’t gender based discrimination.  I’m glad that battle is over!”  However the leftist or feminist will call you a misogynist pig or, at very least, tell you “huh, well I don’t agree with that!”  Ergo maintaining faith in the narrative.

  2.  The need for more gun control: 

    This one is really tough for leftists.  The question is always put to them whether they a. are trying eliminate guns altogether or b. whether they just want to make it tougher to obtain guns.  If their point is a., then you’re dealing with a whole different debate in which you can give all kinds of obvious and absurd examples of how useless eliminating guns would be and how that could lead to the slippery slope of implementing knife control, like they do in England or even worse pepper spray control, like they do in Finland, where they teach women to defend themselves from rapists by using the force (notice how the “potential rapist” is a lily white guy and not a Muslim Arab, because portraying the population that ACTUALLY commits the crimes is “racist”).  However, if you’re talking to an honest leftist (which is rare) and this person doesn’t actually want to eliminate guns, but just wants to make it harder to get them, you simply point out that the places with the highest gun crime rates have the strictest gun control measures and that the crimes are committed by hood rats who own illegal firearms.  On top of that, show them that nice areas with nearly zero gun control have zero gun crime, in spite the fact that most of the citizens have a mini arsenal in their homes.  This Bill Whittle video should do nicely.  There, proven!  The person should have one less leftist belief, right?  Well, according to my former friend and ardent, dedicated leftist zealot Ernesto Yermoli: “I’m not watching a video where the guy calls people ‘weanies’.  Edwin, I have friends in Europe who are TERRIFIED of our pro-gun culture.”  Well, Ernesto, I have friends who are terrified of black people, what of it?  The narrative will be maintained.

  3. White police officers are out to get blacks: 

    As the clear and simple evidence shows, police officers are bigots and it’s open season on unarmed, black teenagers.  After all, Darren Wilson shot Michael Brown and Brown was unarmed.  Now, all you have to do to debunk this absolutely silly notion is remember how Michael Brown was strong arming the owner of a convenience store for cigarettes, charged a police officer and tried to grab a gun away from him and that all of the witnesses who allegedly saw the incident lied about it.  On top of that, you have to consider that, like the Trayvon Martin case, the media decided to make it a national news story, rather than a local one and, in the latter case, turned the Hispanic George Zimmerman into a white man.  You also have to look at the statistics, which say that police officers shoot white people way more than they shoot black people, that officers have actually become more reluctant to shoot at blacks for fear of being accused of racism and that the net result of cops deciding not to do their jobs for fear of being accused of racism lead to a huge spike in the murder rate in Baltimore, in which gangs settled all of their scores.  It doesn’t hurt to mention that people living in black neighborhoods prefer to have a police presence to keep their neighborhoods from turning into total bedlam.  Of course, once you explain all of that, hopefully that’s one less leftist view that person will have.  But, things aren’t that easy.  The leftist is sick in the head doesn’t think that way.  Instead he/she/it will say, “YOU’RE RACIST!!! MICHAEL BROWN WAS UNARMED AND DARREN WILSON SHOT HIM!!!  DARREN WILSON IS WHITE, MICHAEL BROWN IS BLACK, THEREFORE RACISM!!!!” Again the narrative will be maintained.

 

Sometimes I wonder where this extreme narcissism and inability to listen to facts comes from.  My friend Dan told me that, as long as I have solid evidence with which to present my points, then people will be reasonable and listen.  If that was the case, then why does Bernie Sanders have a career?

 

 

You Are Now About to Witness the Strength of Capitalism

n.w.a.

In a movie which is allegedly somewhat about the black struggle in America, the first clear message comes from a member of the L.A. Blood gang: “Why don’t y’all gang-bang them books?”  He asks this after stopping a school bus, walking on and pointing a gun directly at some young punk who thought it was cute and funny to flash gang signs of the opposing Crips out of the school bus window.  Nowhere in Straight Outta Compton, the new N.W.A. biopic, is there mention of wealth redistribution or affirmative action.  There is plenty mention of working hard and getting paid for your work.  There is also at least partial condemnation of ghetto culture.  And, when the movie does touch on the Rodney King riots, it’s with ambiguity.

Straight Outta Compton is killing it in the box office this weekend.  I went to see it and the theater was packed.  Some say the movie is doing so well because people identify with the black struggle against the cops, especially in light of the news media blitzkrieg surrounding the deaths of black teenagers at the hands of white police officers.  I say “that’s bullshit”; the reason the movie is doing so well is because of the gonzo campaign behind it; it looks like a whole heck of a lot of fun and N.W.A. has earned legendary status as the group that truly brought gangsta rap to the forefront of popular culture.  There were others before such as Schooly D and Ice T, but neither dropped as many F or N-bombs as N.W.A.

Before you plunk down $10 to see it, just keep in mind that it’s almost two and a half hours long and, with the exception of Ice Cube, who is played by Ice Cube’s son Oshea Jackson Jr., the actors barely resemble who they’re playing.  Also the first two acts are way more enjoyable than the third, which degenerates into Hallmark-style sentimentality as everyone regains their souls, becomes friends again and Eazy E dies of AIDS (presumably after spreading it to many of the fine hoes he implicitly bangs during the movie).

But the main reason I’m writing this piece is to illuminate how this movie makes one point clear: the only color that truly matters in the United States and any other free society is GREEN.

Staight Outta Compton is for the most part apolitical and, certainly, when watching you it, you never get the feeling you’re being preached at that “black lives matter” or that “cops are bastards.”  I’m to wager there are people on both sides of the cop debate who will have strong opinions about the portrayal of the boys in blue; some will feel the cops are being portrayed as purely evil and racist while some will feel they are not being portrayed as evil and racist enough.  I don’t agree with either of these stances; the cops were portrayed like cops.  It’s not politically correct to say this, but the police officers in Straight Outta Compton acted exactly as they would and should when patrolling a gang and crack infested shithole like Compton; if you feel that Ice Cube was treated unfairly when handcuffed and frisked as he exited his buddy’s house right into the scene of a drug bust, ask yourself: if you were a cop and saw a young man dressed in thuggy, gangsta rap clothes, would take the time to differentiate who’s who in a drug bust?  You know you wouldn’t so stop crying “racist.”  Perhaps they were a bit overzealous during the scene where they shoved all five group members to the ground and handcuffed them during the recording of their debut album, Straight Outta Compton, but again, we’re talking about perceptions in the ghetto.  It isn’t pretty or nice, but it’s the truth.  Yes, one does say “nigger” and I don’t agree with this.

In addition to that there is the infamous scene at Joe Louis Arena in Detroit where the police warn the group not to play their anti-cop smear, “Fuck tha Police” for fear of a riot.  They do it anyway, some fire crackers go off and the audience scatters.  In the movie the group is arrested in front of a rebellious crowd who start a riot; in real life the cops met them at their hotel, took them into the station and let them go after getting their autographs.  Truth really is stranger (and funnier) than fiction.

The movie also touches on the war on drugs.  Anyone who grew up in the 80s and watched TV will have a tizzy at seeing one of Reagan’s batter ram tanks destroy a drug house.  The war on drugs is clearly an overreaction to the crack epidemic, however, the movie glosses over probably one of the biggest contradictions in all of rap music: how nearly the entire gangsta rap industry from 1986 onward was funded by crack money.  Either Snoop Doggy Dogg or Eazy E once noted that, they were simply supplying a good to people who wanted it – stay positive, stay strong!

Then there’s the issue of how the group members treated women.  Straight Outta Compton completely avoids mentioning such tasteful, pro-feminist N.W.A. anthems as “A Bitch Iz a Bitch”, “Just Don’t Bite It”, “She Swallowed It”, “One Less Bitch” and “I’d Rather Fuck You” or the time that Dr.Dre physically assaulted Denise Barns in a nightclub and the rest of the group casually joked about it.  Their attitudes are further underscored during one of the orgy sequences that take place at a hotel room; the members throw some woman named Felicia out of the room after having their way with her and say, “Bye Felicia.”  This is played for laughs and the audience did, in fact, laugh.  The message is clear: “don’t wanna be treated like a hoe, don’t act like hoe” or something like that.  In the same scene, the members pull out sawed off shot guns and automatics on the two guys who were looking for Felicia; clearly gun control isn’t much of an issue for this bunch.

But the real irony about a movie allegedly about black struggle is that the most complicated and nuanced character is white, Jewish manager Jerry Heller (portrayed wonderfully by Paul Giamatti).  Whether intended or not, the strongest and most interesting dramatic scenes involve him and his rather close friendship with Eazy E; Heller acts as his mentor and gives some sound advice to not go and kill strong arm thug Suge Knight after Suge muscled Eazy E into writing Dr. Dre out of the group’s contract.

Heller also provided he biggest “lol” moment for this white, Russian/Ameircan Jew when he reacts to Ice Cube’s song “No Vaseline.”  A couple of lines that imply anti-semitism; “you used a Jew to break up the whole crew.”  Heller starts kvetching, “did you hear that?!  Why aren’t you guys more pissed off?!”  Eazy E responds, “Man,  Jerry, black people don’t know what anti-semitism is!”  Black Muslims sure do and Ice Cube did convert to Islam, but, he’s denied allegations of anti-semitism; “I’m anti-Jerry Heller.”  Fair enough.  Ice Cube has said some rather disturbing things about Korean people as well.  “Pay respect to the black fist/or we’ll burn your store down to a crisp.”

But, once again, I digress.  The bottom line is that, in spite of their struggles with some cops, respecting women, AIDS and censorship, the movie’s primary messages are success, getting rich and working for it.  In fact, probably the best scene to underline the point that you have to pay people for their work was when an infuriated Ice Cube with baseball bat in hand storms into the office of Priority records, shortly after releasing his hit solo album and demands to be paid for his work before smashing everything in sight.  “Take it out of what you owe me.”  Home boy don’t rap for free, ya know?

New Horror Film from Eli Roth Skewers Political Correctness and Multiculturalism

the-green-inferno

Eli Roth’s fourth film, The Green Inferno (following Cabin Fever, Hostel and Hostel: Part 2) is an homage to classic (well, classic to some) Italian cannibal films such as Man from Deep River, Jungle Holocaust, Eaten Alive, Mountain of the Cannibal God, Emmanuelle and the Last Cannibals, Cannibal Ferox and, especially Cannibal Holocaust; yes I’ve seen them all. In the case of the last one, the title for Roth’s film was inspired directly by it, which I will get to momentarily. In addition to being an homage, Roth’s film is also a satire, albeit a fairly mean spirited one, of leftist, liberal and progressive college activists.

For those unaware the cannibal film sub-genre was spawned in Italy in the early 1970s and exhausted itself out in the early 80s. The crowning achievement of the genre is the aforementioned Cannibal Holocaust, whose one distinguishing feature from other cannibal films is that it is a precursor to The Blair Witch Project and other “found footage” horror films.  In fact the documentary being watched within Cannibal Holocaust is called The Green Inferno and follows a team of documentary filmmakers into the jungles of the amazon.  The team proceed to torture the natives, who, in turn torture them back.  All of this is caught on camera and, when shown to the TV crew and, of course the audience, the question is raised: “who are the real cannibals?”  Of course, in Roth’s film, the answer is simple; “The cannibals are the cannibals.”  This has liberals PISSED.

Regerro Deodato’s film along with the other cannibal films is full of violence of every imaginable sort that could not be shown in your average R rated horror film – from the standard decapitations and amputations to more extreme fare like castrations, rape and real animal killing.

It’s 2015 and Roth’s film has no animal killing, but it has plenty of gore. It also includes what might be the final frontier of horror film depravity; female genital mutilation. To be fair America hater Lars Von Trier included this in his film Antichrist from 2009, but Roth is the first to put in a straight ahead horror film.

The basic plot of the movie is that Justine (played by Roth’s super hot wife and Chilean model Lorenzo Izzo) decides to join a group of activists after witnessing a lecture on female genital mutilation in her world studies class and getting manipulated by the sleazy leftist activist Alejandro (Ariel Levy). Their activist trip involves going into a Peruvian jungle and using cell phones and social media to shame land contractors, who employed the help of a gun toting militia, out of bulldozing land of an indigenous Peruvian tribe.  When Justine gets a gun pointed at her head and activist leader Alejandro is ready to sacrifice her for his cause, she starts to get wind of the lengths leftists will go to get their point across.

However, the shaming attempt allegedly works and, after their so called victory – which is revealed to just be a p.r. stunt – the activists crash land into the Peruvian jungle and are tortured and eaten alive by the very people they allegedly came to protect.

Enter liberal outrage.

Roth immediately establishes his disdain for leftist college activist types in the film’s opening scene when the main character is woken up to hunger strikers protesting to increase the wages of janitors. The sentiment is continued further when Kira (singer Sky Ferriera), best friend of Justine exclaims, “activism is so fucking gay”, while also throwing in some remarks about the white Jewish elitist guilt to the horrified stare of a passerby. She turns, pulls out her Star of David pendant and says, “Uh, I can say that!” I laughed wholeheartedly at that. Is Eli Roth really taking a swipe at liberal Jews? I can only hope!

In fact, I’ll go so far as to draw a direct parallel with the Israeli/Palestinian conflict; young, naive activists support the Boycott, Divestment and Sanctions movement, thinking they’re helping the “poor Palestinians” in spite the fact that Israel was always just protecting itself against rockets fired by a group of people who they’ve conceded land to in every war they’ve won. Naive activists fail to realize that the people they allegedly want to protect are governed by the savages known as Hamas, who couldn’t care less about their cause and are known for stringing gay people on ropes and killing women when they think they’ve committed adultery.  Let us not forget that they use women and children as shields just to make Israel look bad in case they retaliate against rocket fire.

I can only speculate if Roth had any message in mind beyond making fun of social justice warriors. However, it would be nice if the same guy who played the Bear Jew in Quinten Tarantino’s otherwise preposterous Inglorious Basterds, beating the brains out of Nazi soldier with a baseball bat, might have a cautionary, pro-West message in mind. Maybe he was thinking of naive journalists who go to Muslim countries only to be kidnapped and beheaded. Whatever parallel can be drawn, it’s clear the movie doesn’t seem to have a pro-multicultural message. Hell, the protagonist is saved by the very “imperialist” militia she had gone to protest against.

Anyway, back in the jungle the natives are portrayed as primitive savages and waste no time in cooking up and eating the fattest member of their crew, Jonah (Aaron Burns) (did Eli Roth name this character Jonah because he’s fat?) People who hate the film’s message will try and say that the film lacks suspense, pacing, atmosphere, and likeable characters. They’re just looking for excuses to hate it. The Peruvian jungle locale looks gorgeous and we immediately sympathize with Justine the second she finds out that she was a pawn in the “activist” Alejandro’s twisted plot.

On top of that the movie has lots of excitement and gore; branch going through someone’s face, head getting chopped off by a propeller, live body flaying, someone being eaten alive by ants, freshly skinned heads on poles and a throat being slit. The mood is lightened slightly with some juvenile humor in the form of some explosive diarrhea and a “Scooby Doo” style escape plot involving putting marijuana in the cannibals’ food.

When leftists actually admit that the movie is good, as in suspenseful and well made, they complain about how it’s xenophobic and that attacks on social justice warriors are shallow at best. But that’s the point! Social justice warriors ARE shallow, taking on socio-political causes with almost no knowledge of the history behind any of them.

Some critics feel the film’s conclusion makes no sense; that Justine, the only survivor, goes on to lie about her experience with the cannibals to her father, a member of the U.N. I don’t feel this is the case at all.  I feel this is exactly what people on the left do; make excuses, rationalize or flat out lie about how certain cultures just aren’t compatible with Western values.  Eli Roth isn’t afraid to point this out.