Showing posts with label anti-Semitism. Show all posts
Showing posts with label anti-Semitism. Show all posts

Saturday, January 21, 2012

A.J. Weberman on Ron Paul



Ed.--This is a pretty good set of personal observations by a Jewish activist on Ron Paul and the people he surrounds himself with. I too stumbled upon Spotlight (a defunct anti-Semitic/right wing extremist paper), speaking for myself in the early 90s, and agree with his conclusion: Ron Paul is an authoritarian fascist and a race baiter, a demagogue, a liar. Paul is a sad reminder of the failings of American Populism just over a century ago too, the fixation on the gold standard-and-all...as well as the baggage of anti-Semitism.

Make no mistake: This man, and more specifically, the people who are his base, are an incredibly dangerous political phenomenon on the American landscape. Worst of all are his Christian Identity connections. His son Rand (named after Ayn Rand) has been put on the SPLC's watch list not long ago, and for good reason. These people are scarier than you think. The scariest part is that there are numbskulls on the left (really arch-conservative flakes) who are being swayed by him out of desperation and a desire for expediency, for immediate change. Yeah, we'd get change alright--an even greater acceleration of the move towards corporate tyranny and a more openly racialist state.

Postscript: Again, I don't agree with all of Weberman's contentions, historical or otherwise, but the raw data is there. I do agree that Paul is a demagogue, a Christian Identity freak and a corporatist, a bad populist.

Thursday, July 15, 2010

Mel Gibson to join reunited Norwegian Satanic Metal band Burzum


A burning church, Norway--At precisely 7 a.m. GMT, the recently reunited metal band announced to the international press that Mel Gibson would now be fronting the group. So as not to confuse hipsters, they explained that Gibson "wouldn't be disrespecting us--quite the contrary," but "will be out front singing for us, on vocals. Thank you all, and have a nice day, especially Jews."

In the spirit of tolerance and brotherly love, the band produced a sampling of song lyrics (still in their embryonic stage) Gibson wrote and will be singing from his padded cell in Los Angeles, via satellite.

The song is titled, "Flowers, My Dearest Love":

Stay on this phone and don't hang up on me.
I have plenty of energy to drive over there.
You understand me? (repeat four times)
AND I WILL! (repeat four times)
SO JUST F------ LISTEN TO ME.
LISTEN TO MY F------ RANTING.
LISTEN TO WHAT YOU DO TO ME.

You have no f--king soul.
I left my wife because we had no spiritual common ground.
You and I have none, zero.
You won't even f---king try.
You don't care.
You don't care.
You don't care.

I'll put you in a f---ing rose garden you c--t!
You understand that?
Because I'm capable of it.
You understand that?
You understand that?
You understand that?
AND I WILL! (repeat four times)
SO JUST F------ LISTEN TO ME.
LISTEN TO MY F------ RANTING. LISTEN TO WHAT YOU DO TO ME.
(all lyrics by Mel Gibson, 2010)
In an unsurprising turn, Mel's volume of fan mail from disturbed women proposing marriage rose, while the market fell. Most of the new material will return to their black metal roots, eschewing (whatever the fuck that is) their more recent attempts at crust punk (whatever the fuck that is).

Wednesday, March 11, 2009

"It's a coup!": Some more reflections on the Wall Street bailout reactions


"When small men begin to cast big shadows,
it means that the sun is about to set."
--Lin Yutang

WWW--It was coming from Michael Moore, Naomi Wolf, and from all-points-in-between on the political spectrum back at the end of this last September and October: the bailout of Wall Street was a coup because "we're all being robbed," case closed. That we're all being robbed is a certainty, but a coup? I still keep hearing this weird contention, yet I'm not seeing any proof that any of the players being bailed-out are different ones.

Why should we care if it's the same people? Because that's one of the main preconditions of a coup--someone else has to be in-charge, replacing the last group. What coup? It doesn't fit the definition, yet you have progressives and conservatives screaming one has occurred all over the place. Was there one? Well, yes, ages ago, and they missed it. They're making strange sounds over this, and I wanted to know why, and I've given it a lot of thought and reached a few tentative conclusions.

My belief: people like Michael Moore have had major investments on Wall Street like many of us have had (not me, however!), and that includes folks like Arianna Huffington, Al Franken, much of the wider society, and maybe even a few investigative journalists and media-outlet owners out there. But aren't they begging the question? That was my feeling back in September, and it still is, with a few more historical reflections.

Now, if you lost your ass on Wall Street and you heard that others were being bailed-out--and you weren't--wouldn't you be freaking-out and yelling too? Sure you would, and if you had a soapbox bigger than everyone else's, you'd use it, right? Perhaps. This shouting
that the first bailout of the banks was a "coup" by some of these celebrities across the political spectrum reminded me of someone from our past: Father Charles E. Coughlin, the radio priest.

Today, most Americans have no idea who Coughlin was, but you could say that he was one-part Rush Limbaugh, one-part Michael Moore, and one-part Joseph Goebbels. Yes, this is about the 1930s and the Great Depression, what else would it be about? Coughlin was originally from Ontario, Canada and had confronted a group of the KKK who had tried to burn his church in an act of anti-Catholic hate, so he began with "progressive" and populist credentials. At the dawn of the Great Depression, Coughlin sounded like a voice of reason to many, and they supported him with money and activism. He went as far as founding a short-lived political party, the NUSJ (The National Union for Social Justice), and was most popular with Irish-Catholics during the 1930s, but had a much wider appeal.

Incredibly, he and Gerald L.K. Smith (a lieutenant of Huey Long) could be fairly credited with creating the white supremacist movement. How did it end up that way? From frustrated populist aspirations and a deep disdain for Western-style capitalism. Some people react dysfunctionally to social injustice because they're terminal racists. Where did it all begin for the "radio priest"?

Father Coughlin's American parish in Royal Oak, Michigan began doing radio broadcasts of his sermons sometime in 1926 out of Detroit's radio station WJR, the beginning of the radio age. It has been calculated that Coughlin had a listenership-peak of as many as 40 million, an incredible number for its time. Coughlin was radically populist one moment in his speeches, backing Roosevelt completely one day, and then making remarks totally against the New Deal the next depending on which way the political winds were blowing at the moment. For him--as with Limbaugh--it was all about ratings. In this respect, little has changed since the 1930s, but he accidentally pushed FDR further to the left, so he had some value.

While Coughlin was railing against Wall Street, he was heavily invested in it at a time when almost nobody in the general population
was. Who had money then? Demagogues like Charles Coughlin, that's who; the radio priest was getting rich slamming Wall Street, from his appeals for donations, and his weekly radio program's advertising revenue. Unbeknownst to most Americans, by the mid-1930s, Father Coughlin was one of the largest holders of silver in America. In other words, he was a hypocrite in most respects, and vanity assured his fall. Coughlin began with very enthusiastic support of FDR's New Deal programs, but by 1934 he started having political aspirations of his own and began bitterly attacking Roosevelt and his policies. He also began broadcasting and writing anti-Semitic remarks and began his love affair with Continental fascism and the Nazi State.

By 1938, he reprinted the Tsarist secret police (Okhrana) forgery, The Protocols of the Learned Elders of Zion in his own newsletter, "Social Justice," and was witnessed at a Bronx speaking- engagement doing the fascist salute. It was all downhill after that, as radio stations stopped carrying his programs and the Roosevelt administration moved on him to curb his ability to disseminate first his radio programs, then his newspaper and related literature through the postal system. By 1942, with his support of Nazism all-but-complete, Coughlin became a marginalized laughingstock, and went back to his tiny Royal Oak parish to live out the rest of his life in relative obscurity.

Interstingly, he had connections with a domestic fascist group called the "Christian Front," who plotted to overthrow the government of the United States. He never renounced his connection to them.

I don't think Michael Moore is exactly the same kind of creature as Coughlin, and this isn't some attempt to smear him with the same brush at all, because it's not accurate or fair. But there are a lot of parallels between his life and that of Coughlin, and he's not alone. New communications media have empowered many individuals in the last two decades like never before, and with that access comes the same kinds of issues that arose during the 1930s, a time when radio was first emerging as a force. But the cries of "coup" smack of similar hypocrisies that people like Coughlin once engaged in. One might ask such celebrities like Limbaugh and Moore (or even "conspiracy" writers/activists like Alex Jones) what their holdings on Wall Street are today. You might get a very surprising answer indeed, even with the contemporary prevalence of investment.

Now is definitely a time of demagogues, but the question is: "Who are they exactly? Who are the demagogues?" Rush Limbaugh and most of the right-wing noise machine certainly fit that bill, but there are others out there, right now, waiting for their time. Intellectual honesty is as good an inoculation as you're likely to get, a proactive solution for the ages.

Tuesday, December 12, 2006

Apocalypto (2006) review


There is only one word for Mel Gibson's Apocalypto: masterwork. We have the source of his meltdown--this film. To say that Apocalypto is a major achievement would be an understatement. It is more. Gibson has created a story about now and how civilizations fall.

Yes, there are numerous references to the war in Iraq--albeit indirect ones--but also about the fear-baiting "War on Terror." The panic surrounding 9/11 is touched-on: a scene of refugees escaping warfare very early in the film conveys the need for calm during a crisis, and not for people to fall-prey to their fears (the food of all tyrants and demagogues).

For those who want to shift the debate about this film, you should realize that it's an allegory, and it's meant to exist only in cinematic space and not as a representation of a linear-history. It's thrust is thematic. We should all know this by now regarding movies and how they portray human history. Interestingly, Gibson and his co-writer crib a scene from William Shakespeare's "Julius Caesar," and it fits. I also enjoyed his take on the shamanic experience and the power of human insight.


But many of the images in Apocalypto are happening in Iraq today, many-of-which are being committed by our troops in our name. The only difference here is the absence of automatic-weapons and other "high-technologies". While there isn't 100% accuracy in the depiction of the classical Mayan civilization, the bulk of their culture and practices (including the cyclical-droughts that precipitated a decline of the cities, enslavement, and an increase in human sacrifice) are present. There is a genuine love of the Maya expressed in the film, and they are a beautiful people with their aquiline-noses and their bronze-skin.

The Maya are a lovely people with a material culture and legacy that is both gorgeous and horrific, and they are a part of us all in Gibson's filmic universe.
There are no Caucasian messiahs here (a truly racist conceit), as there have been in most films featuring indigenous peoples. Virtually every actor in the film is Mayan or at least Native American.

Some critics have said the tale seems more to concern the problems of the Aztecs, but consider that the rain god Kukulkan was a feathered-serpent, just as Quezalcoatl in Mesoamerican religion. Both gods received sacrifices of blood in ways that are so similar that there has to be some connection in the genesis of both civilizations, particularly in their militarized-theocratic structures. This connection may come from the Toltec and Olmec civilizations.

We can see a contemporary desire for this theocratic-context in the efforts of the Bush administration except that they sacrifice warriors to the god Mars. And so, we have one of the major themes in most of Gibson's oeuvre: the strong desire for human sacrifice and an unquenchable bloodthirstiness that is part of nearly every so-called "civilized" culture in human history. This is what makes it a story about the human-condition, and it's clear that Mel Gibson is horrified by the way that we treat each other. This raises some valid questions.

I put it to you: how-many people has he ever killed? Critics are suffering from misdirected-anger, while others are lying-racists themselves.
Others are simply being reactionary and wrong-headed.

A noteworthy aspect of the film is the fact that this is the first motion picture with dialog spoken in the language of the Maya. Because most of the public don't understand that the Maya were and are a linguistic cultural group--not a single-unit as most indigenous groups are and were--it might be confusing to see Maya enslaving and sacrificing other Maya, but this is what occurred during their classical and post-classical eras.

Human sacrifice intensified when cycles of droughts, possibly due to an over-population in the cities. Due to internecine warfare, poor harvests, and general brutality through raiding and feuds, the cities began sinking. Gibson suggests that infighting as depicted in the film was the major-contributor, and Gibson appears to have done his homework on a subject that he so obviously adores. It's still a guess as to why they fell, which reveals the tale as allegory, not a simple history.


Even the philosopher Henri Rousseau with his "noble savages" might be impressed, but the co-writer/director/producer balances this all out with a display of what the Maya really did to one another as their civilization collapsed. Because of this, and the indirect references to our own time, the story has a message that isn't isolated to the fall of classical Mayan civilization, but a warning to us all that only a people can truly undo themselves.

This is a pretty radical message during the wars in Iraq and Afghanistan and the divisiveness and chaos unleashed by the Bush administration upon the world. In past interviews, director Gibson has compared the human sacrifices in Apocalypto with Iraqis, Americans, and coalition forces being sacrificed to the war machine in the Middle East. This is a very fine-point that literally transcends the historical setting of the film and can be taken as part of its general-thrust: a civilization that wars with its neighbors and within itself cannot endure, a reminder from history.
The majority of Mayan history was warfare against each other, it's just the unfortunate truth.
Apocalypto is a warning to us all.

It is curious, then, that there are voices of the so-called "Left" who want to focus on the racial tirade of a man who was having a nervous-breakdown while intoxicated. It sends a very weird message indeed. The sheer brilliance of this film illuminates the incident more clearly by its technical achievements (digitally shooting, almost entirely within the jungles of the Yucatan). Ask Werner Herzog how easy this is.

This is not an apology for Gibson's comments, but we should ask ourselves how often these things happen to people who are not famous. If he wasn't Mel Gibson, we wouldn't even be talking about the tirade, we wouldn't care. It's all about having an agenda.

All attacks on him should be viewed with a reasonable degree of suspicion and level-headedness, because even a man who has done wrong can be used to commit further wrongs for individuals with an questionable agenda (like Ari Emanuel). Many of these people are supporters of the very imperialism that Gibson rails-against in this film.


There are a number of Hollywood insiders who have said point-blank that they will never even watch this film for consideration of an MPAA award. It all reminds me of the stupidity surrounding The Last Temptation of Christ (1989), an embarrassing episode for American culture. This is intellectual dishonesty at its worst, but most of these individuals are used to this state-of-being, as are many of the critics of the film--even one Ward Churchill, and he should know better.

In-character-as-usual, the Maya are mixed in their reactions to the film at this writing. They are not a monolithic people, but a culture of disjointed familial networks.


Yet, the Maya are survivors, 800,000-strong, which isn't shabby for an indigenous people in the Americas, and they even control parts of Chiapas, Belize and Guatemala.
A people have a way of coming-around for their turn again, and it's possible that the Maya will have their own autonomous civilization someday. Here's to their continued resistance to colonialism. Today, the Maya often live as they always have in their small agricultural villages. Apocalypto is essential viewing with an ending that absolutely floored me. Its cinematic vistas are food for thought, regardless of who it came from.

Context-context-context:

Monday, August 07, 2006

Ari Emanuel: Hypocrite, Asshole.


Ari Emanuel is a well-known "superagent" in Hollywood who has been blogging on Huffingtonpost over the last year, and is often reasonable in his blogs. However, it seems the Israeli invasion of Lebanon has him sipping the Flavor Aide from Jonestown. Huh?

Cut-to-now: Mel Gibson makes anti-Semitic remarks (while intoxicated) after being pulled-over by the Orange County Sheriff's Department, saying such racist gems as, "The Jews have started every war", and "Are you a Jew?!" to the arresting officers. It's obvious he was intoxicated and anti-Semitic, sigh.

Cut-to a close-shot of Ari Emanuel's photo on Huffpo: The "superagent" (this guy must be an unknown arch-nemesis of mine) calls for a banning of Mel Gibson from Hollywood, demanding that people there stop working with Mel altogether--OK, I've caused some mayhem in my days as an arch-fiend, but this is just hypocritical.

"Why?", you ask? Here's why: Ari Emanuel's brother was a "top advisor to President Bill Clinton" during the 1990s. "Soooooo?", you're saying, as you ponder the information. Ahhhh, here's the whole rub, folks, from imdb:

The youngest of three brothers, Mr. Emanuel grew up in [a] Chicago household headed by a pediatrician (his father) and a psychiatric social worker (his mother). He learned to be competitive from his brothers, Dr. Ezekiel J. Emanuel, an oncologist and chairman of the department of clinical bioethics at the Warren G. Magnusson Clinical Center at the National Institutes of Health and Rahm Emanuel, a top white house advisor to President Bill Clinton. His career began as an assistant to Robert Lantz, the veteran New York agent who represented Milos Foreman. He moved to Los Angeles in 1987 landing a job in the mail room [Ed.--Where he should have remained, for life.] of the Creative Artists Agency.
Coming from what he felt was a place of moral superiority, Mr. Emanuel rightly criticized Mr. Gibson for his anti-Semitic remarks. If it had ended there, that would have been fine. But no, he didn't end it there.

He called for a removal of Mel Gibson from the Hollywood scene altogether.


"Yeah, but what does that have to do with Clinton's bombing of civilian-infrastructures in 1990s Iraq," you're asking? Simple, the brothers Emanuel probably did nothing in trying to dissuade Clinton from causing the deaths of an entire generation of Iraqi children--nada--and they had direct-access to the president. They're petty and hypocritical regarding their take on Mel Gibson.

Would it have worked? I doubt this, but I would like to know if they ever tried, since they have had direct-access to the halls of power...

[Ed., 11.08.2008: I'd imagine that the Emanuels wanted the air strikes on Iraq in the interests of Israeli security. The problem is, Iraq was never a serious threat to them, and everyone knows it. The only good thing you can say about these two clowns is that they "get the job done." So did Jewish-collaborators at Auschwitz, dragging their brothers and sisters to the gas chambers.]