Jewish Republican Eric Cantor sings for his meals

This smarmy fascist asshole was on the CBS investigative program 60 Minutes last night denying before God and everybody that Ronald Reagan never raised taxes when it's well established that he did. Is Cantor hanging out with Holocaust denier David Irving as well? Is he totally insane or just a bad liar? I'll tell you what he and most politicians are: simulacra of human beings, parodies of people. Politicians having sex with prostitutes is one more indicator that these people aren't human, acting out perverse, parallel versions of the lives of normal, well-balanced, ordinary people. The fact is that they're pathological, totally insane, and should be detained and evaluated as to whether they're criminal psychotics by legal and clinical definition.

Republican Eric Cantor needs to reform the Sonderkommando (Jews in the death camps who assisted in the disposal of other inmates for a little more time) so he can join it. Will he shoot himself in the back of the head, then dump his own body into a mass grave? Could be. His Walther P-38 is loaded with a full clip, he's ready for action, ready to lick the hand that overfeeds him with inflated capital. What scum. What an animal. Dirt. Typical behavior of Republicans in every sense. Next week they're going to tell us that the laws of gravity have been rescinded.

Babs Streisand Bullish on Billary Clinton, as Lilli Marlene was for Adolf Hitler

NYC--Ever notice you can take the prose from Poe's 'The Raven,' and put it to the melody of 'Superman'? Try it, it works. Right, not all Jews are Noam Chomsky, Karl Marx, David Cronenberg, or Jesus. Some are wrongheaded turds like everyone else, happily helping shovel the bodies into the ovens. Babs is no exception to this kind of insensate human being, and she loves parading her iniquities everywhere she can.

Gay men: stick with Judy Garland, she was the best. But we knew this, or why would you have rioted over her memory at Stonewall? That was a real woman--a mother--with genuine class. She suffered so much in her life. Babs is a far-cry from Judy, more like the groveling, fawning Lilli. But there's a certain kind of woman who claws-her-way to the tyrants, those strongmen who display (b)absolute certainty at every turn.

Let's not forget about Waco in 1993, or the fact that it was Bill Clinton who authorized and pushed for most favored trading status with China. He was just finishing the work that began with Nixon, carrying over from Ford, Reagan, Bush, and finally Bubba. Sure, he's our first 'Black President' alright--black as the eyes of a lion before it sinks it teeth into the flesh of a gazelle. Forget Babs, forget the schnoz, and the ridiculously high tickets prices for the so-so shows of a terminally spoiled psychotic.

Retire Babs, you always sucked. You just hate actually paying your share, you tax cheat. We should also remember that Bill Clinton ordered the destruction of Iraqi-infrastructure during the 1990s during the 'no-fly zone' period, bringing about the deaths of 500,000 Iraqi children.

That's genocide, Babs, that's what you're supporting. You don't care, you spoiled, evil bitch. The Clintons also bombed Kosovo in 1999, causing over 200,000 Eastern Orthodox Serbs to flee. That's ethnic cleansing, but our crimes never happened. Barbara Streisand is our era's Lilli Marlene, a singing whore for neo-Nazis.

Perhaps we can conduct the killing of our victims with Barbara's songs blaring in-the-background. Hey, they played music at Auschwitz, so why not her crappy singing? That would be torture enough.

It would make a lot of sense for those interned at Guantanamo Bay Naval Base to have to listen to her drivel all-the-time. Marlene Dietrich knew a fascist when she saw one--what's your excuse you walking parody of humanity? What a moral imbecile, that Babs.

Ken Russell's The Devils (1971) review

Ken Russell is a director you either hate or love--I'm with the latter, and enjoy irritating the same targets Russell does, endlessly. The simple fact that many of Ken Russell's films are hated makes me love them all-the-more. This is arguably his best film, and his only political one.

As a period-piece, this film is stylized, but looks very convincing, and the cinematography by Dick Bush and set designs by late-and-great Derek Jarman (another genius of film) are stellar.

Consider why films like this one aren't made often, and you may have part of the answer as to why this film is still so shocking. Many people dislike Russell's films because of what he reveals about all of us, but that's too bad. People didn't like what Auschwitz said about humanity, but there it is, forever.

Apparently, Warner Brothers has finally-decided to release this film as a director's-cut in 2006, or 2007 [Ed.--2008 and still waiting...]. It is being reported that all footage removed by the BBFC and American censors (mainly at Warners) in 1971 will be reinstated in an "unrated cut" approved by the director. Some very good prints have been circulating around Los Angeles, New York City, and London recently...

The film "The Devils" may have been taken from the Aldous Huxley book, and the 1960s play by John Whiting, but it's squarely Ken Russell's film from-beginning-to-end.

Also likely to be included on a future DVD is the excellent BBC documentary by Mark Kermode ("Hell on Earth"), about the making of the film, and the firestorm it created. The "renegade" DVD by Angelfire is acceptable, and will have to tide us over until then, but there is one by "Trash Palace" that looks even better (though minus the inclusion in the feature film of the deleted scenes). Both the Angelfire version and the Trash Palace edition has the aforementioned Kermode documentary, and a widescreen transfer (1.85:1, the wrong aspect-ratio, the film was lensed in Panavision at 2.35:1) of the film. Only the Angelfire version contains the "Rape of Christ" scene reinstated.

This was a film that Warner Brothers hated after the executives saw the final cut in a studio screening. The Warner pressbook itself even states that it was going to be a hard-sell, with posters marketing the film as horror. It is horrific, but really constitutes a political allegory. Some of the posters warned potential audiences that it was a film "most people won't like"! It did reasonably good business, but wasn't a hit, though it could be assumed that the studio made their money back.

In a film that bombards the viewer with violence, decay, plague, and death, it isn't surprising that people miss some of the film's thematic points: The Devils comments on the eternal threat to individual rights and spiritual liberty from irrationality, social hysteria, and authoritarianism, and that they're often played-out in the same ways in different eras. You can see this in the comparisons made between Oliver Reed's character Father Grandier, and that of the accepted Christology of 17th century France (orthodoxy being represented by the characters of Father Mignon, Sister Jeanne and Cardinal Richelieu--an unholy trilogy?).

Is there much difference in why Grandier is degraded similarly to Christ? Russell (a Catholic)goes radically further: is there any difference between the political scapegoating of Urbain Grandier and Jesus of Nazareth? What's truly degraded is the Gospel of Christ and St. Francis. "The crowd" appears to be swayed in either direction, with a tendency towards hysteria and authoritarianism, making for a grim message indeed. But, this is generally what happened to Loudon, its inhabitants, Grandier, and France, at the time of the story.

Russell tells us that Richelieu's yearnings for theocratic power can only be seen as a threat to liberty, just as they are now in the Middle East and the United States. Russell seems to be saying that these political and spiritual struggles are one-and-the-same, and that they require an eternal vigilance against them. This is not an exploitation film, but it is as dark and horrific as any classic tale of horror. What's most horrifying is that it's true.

Keep-in-mind that not one image is in this film "by mistake," as Russell composes his framing for a specific meaning and purpose just as the old masters did. This film is a warning against the aims of power, and shines a ray of artistic truth on why Christ was crucified to boot. There are numerous tableaux that could have come from Goya or Bosch.

The images of people being tortured, vomiting, acting hysterically--they are not there to merely to shock, but as a warning about social hysterias that have a tendency to recur throughout human history. Repression can lead to greater perversions and tyranny, states Russell, and resoundingly. Set specifically in 17th Century France after the eight Hugenot Wars, "The Devils" should be read as a cautionary tale on how people willingly give-up their liberties during uncertain times...times not unlike our own.

The religious and cultural wars still rage on, and will continue to for the foreseeable future.

Why a restoration is necessary: a long-overdue reassessment will come with the world finally being able see what director Ken Russell intended. World culture might see this film being very influential (it already is), and not just in spawning exploitation fare. Italian genre filmmakers were inspired by this film when they began churning-out "nunsploitation" cinema! Good lapsed Catholics, all, I can assure you. This is what the "Grand Guignol" was based-on, the real deal. From the 1600s-to-now, the threats are essentially the same. Only the technology has changed.

Bother Warner Bros. into releasing this classic at: www.warnerbros.com