How much guts does it take to be against something nobody admits being for? From Kurt Schlichter at theburningplatform.com:
Finally, someone had the courage to say it out loud – racism is bad, and we are truly blessed that our celebrities, corporations, and politicians are willing to say so no matter what the cost.
That weaselly guy from Breaking Bad.
This is the pantheon of true American heroes. Except York and Murphy were much less heroic than Whatshisname, since they did not accept personal responsibility for their participation in the genocidal systems of oppression that your man-bunned TA taught you about at Goucher College. They were too busy killing krauts.
I say pull down their statues and scrub their names from history for their lack of wokeness.
I first realized that much of what passed for news was horseshit when I started delving into John F. Kennedy’s assassination. Bob Dylan’s recent epic, Murder Most Foul, quite clearly, even savagely, rejects the official story but you wouldn’t know it from those who have interviewed him about it. From Edward Curtin at lewrockwell.com:
Imagine this: A so-called presidential historian for a major television network publishes an interview in the most famous newspaper in the world with the most famous singer/songwriter in the world, who has recently written an explosive song accusing the U.S. government of a conspiracy in the assassination of the most famous modern American president, and the interviewer never asks the singer about the specific allegations in his song except to ask him if he was surprised that the song reached number one on the Billboard hit list and other musical and cultural references that have nothing to do with the assassination.
Imagine no more. For that is exactly what Douglas Brinkley, CNN’s presidential historian, has just done with his June 12, 2020 interview with Bob Dylan in the The New York Times. The interview makes emphatically clear that Brinkley is not in the least interested in what Dylan has to say about the assassination of the President of the United States, John F. Kennedy, whose murder most foul marks in the most profound way possible the devolution of the U.S. into the cesspool it has become. Brinkley has another agenda.
The green movement is mostly about fake science and corporate opportunism. From Tyler Durden at zerohedge.com:
This film is the wake-up call to the reality we are afraid to face: the mainstream environmental movement is pushing lies in the form of various techno-fixes and band-aids – all of which are reliant and use large quantities of fossil fuels and rare earth minerals. Have environmentalists fallen for a “green” illusion? More than any other documentary to date, this film exposes the wholesale fraud behind subsidized industries like biomass fuels, wind turbines, and even not-so ‘green’ electric car…
…and that is why Moore’s typical leftist cult following has turned on him so aggressively – facts don’t fit their narratives and cognitive dissonance is not a safe space.
The world descends into idiocy, but it’s not as funny as a couple of movies from the past. From Robert E. Wright at aier.org:
The title comes from the two movies reviewed below, Idiocracy (2006) and Experimenter: The Stanley Milgram Story (2015). In normal times, neither would merit mention, much less review, at such a late date. But unless you are just coming off six months on a trapline in Alaska, you know that these are abnormal times.
I couldn’t decide which movie better fits our current situation but then it dawned on me that they are mutually reinforcing, not exclusive.
Idiocracy stars Luke Wilson, Maya Rudolph, and Terry Crews. In 2005, soldier Wilson and prostitute Rudolph agree to be cryogenically frozen for a year but through a series of mishaps end up sleeping for 500 years. They awaken to a dystopia where selective pressures have rendered humans dumb and dumber. Americans live surrounded by mountains of trash, watching trash on television, including shows like “Oww My Balls” that make Johnny Knoxville’s Jackass franchise look like high culture.
POTUS Crews and his fellow Americans speak in a pidgin of grunts and rural, urban, and Valley Girl slang that sounds eerily familiar. Unlike our presidents to date, though, he fires a machine gun, Al Pacino-style, for rhetorical emphasis.
Edward Curtin reviews Bob Dylan’s dirge on the Kennedy assassination “Murder Most Foul,” at lewrockwell.com:
“For murder, though it have no tongue, will speak with most miraculous organ.” – Hamlet
On May 1, 1962, President John Kennedy was meeting in the Oval Office with a group of Quakers who were urging him to do more for peace and disarmament. As he kept explaining, the great political opposition he was facing within his own government, they kept urging him to do more. He listened very closely to their words and finally said, “You believe in redemption don’t you.” By the next spring he had turned decisively toward the peacemaking the Quakers had urged upon him, resulting in his murder in the fall by treacherous government forces, led by the CIA, that opposed him all along.
Now that Dylan has burst forth from behind his many masks and gifted the world with his incandescent new song about the assassination, with a title taken from Hamlet, from the mouth of the ghost of the dead King of Denmark –“ Murder Most Foul “– we have entered a new day in an odd way. For those who have wondered over the years if Dylan had “sold out,” here is their answer. For those who have wondered if he would go to his grave reciting the words of T.S. Eliot’s J. Alfred Prufrock – “I am no Prince Hamlet nor was meant to be” – here is Hamlet’s booming response. Not only does this song lay bare the truth of the most foundational event in modern American history, but it does so in such a powerfully poetic way and at such an opportune time that it should redeem Dylan in the eyes of those who ever doubted him.
The coronavirus outbreak is thrusting a lot of thespians and aspiring thespians into the public eye. From the Zman at theburningplatform.com:
First, I want to thank my family for being with me through all of this. I could not get through this without them. This has been a trying time for all of us. I’m here today to announce that I have tested positive for the coronavirus. I’m coming forward in the hope that I will continue to inspire people suffering from this horrible burden to keep bravely fighting and dreaming. I also hope this will help break the stigma white men have attached to this condition and the sufferers of it…
That is a little taste of what will no doubt be a feature of our lives in the coming week, as famous people take turns staring in their own corona drama. It has already started a bit, with people like Tom Hanks and others announcing they have tested COV-positive, but the flood gates will surely open once we run out of hoarding stories. You can be sure that musical performers are plotting some sort of corona-aid performance, perhaps done on-line, to draw attention to themselves.
We live in an age in which everything is a performance. Not just any performance, of course, but a morality tale. The “famous person making the dramatic announcement to the public” version is pretty common. Twenty years ago, famous homosexuals would have dramatic coming out ceremonies. Some would make a drama of announcing they got the AIDS. The point of the performance is for the actor to get both sympathy and admiration for being a heroic victim, bravely fighting on.
An old Police song serves as the departure point for Jim Quinn’s survey of history and critique of modern times. From Quinn at theburningplatform.com:
There is no political solution
To our troubled evolution
Have no faith in constitution
There is no bloody revolution
The Police – Spirits in the Material World
As I was driving home from work last week, an almost forty-year-old song began emanating from my radio. I’ve always appreciated the music of The Police, but was never a huge fan. Spirits in the Material World was a relatively minor hit from their 1981 Ghost in the Machine multi-platinum album. I’ve probably heard it hundreds of times over the last four decades, but the lyrics struck me as particularly apropos at the end of a week where lunatic left-wing politicians staged a battle royale of ineptitude, invective, and idiotic solutions, in front of a perplexed public in a Vegas casino. Sting wrote the lyrics to this song in 1981 at the outset of the Reagan presidency. It is less than 3 minutes in length, but says much about humanity and the world we inhabit.
The interpretation of Sting’s (Gordon Sumner) lyrics depends upon your position in the generational kaleidoscope of history. As a boomer, Sting came of age during the 1960s and 70s. He was thirty years old in 1981 as the Second Turning (Awakening) was winding down and Reagan’s Morning in America was about to launch the Third Turning (Unraveling) in 1984.
His passionate idealism and search for spiritual solutions to the problems of the day had not been extinguished. The raging inflation of the 1970s had led to the worst recession since the Great Depression. The Cold War was at its coldest. Politicians had been discredited as criminal (Nixon) or incompetent (Carter). Sting and many others of his generation had lost faith in the political system. His viewpoint fit perfectly into the Strauss and Howe assessment of our last Awakening period (1964 – 1984).
America! Binge-watch #AfterLife on @Netflix tonight. It’s about a man who realises that humanity is a disgusting, narcissistic plague, and so becomes angry & depressed and loses the will to live. Or watch The Oscars instead and actually experience those feelings first hand. pic.twitter.com/3mUo4bOpte
From Joaquin Phoenix – the man who’s fighting climate change by wearing the same tux to all his award shows – raving about the injustices of inseminating cows, to Chris Rock and Steve Martin’s insipid jokes about #OscarsSoWhite, this year’s Oscars was almost intolerable for viewers who haven’t totally bought in to the far-left identity politics currently dominating Hollywood. And it showed in the ratings.
According to the Hollywood Reporter, this year’s Oscars – which some have joked would be the ‘wokest Oscars ever’ after Kevin Hart was fired as host and best picture went to a foreign film (South Korea’s “Parasite”) for the first time – bagged the lowest TV ratings in the history of the storied awards show.
Europe wants to take on the competitive rigors of the global economy with both hands tied behind its back…in the name of its own Green Deal. From Andrew Moran at mises.org:
Today’s brand of the left-leaning politician is all about substituting what sounds good for what actually works. Modern politics, whether in the US or Europe, is about taking a chainsaw to everything that produced even a modicum of success to appease the deities espousing progressive orthodoxy. There is no better example of this than fossil fuels, an energy source that has lifted us out of destitution and darkness, and given us incredible wealth that the world had never witnessed. What is the Left interested in doing? Using confiscation, cronyism, centralization, and coercion to combat climate change. The European Union will achieve these objectives through the boondoggle-in the-making Green Deal (GD).
What is the Green Deal?
The European counterpart is a bit more realistic than the American version, aiming for net-zero emissions within thirty years rather than in a decade. But that is probably the best thing you can say about the proposal, which was approved by the European Parliament—though some policymakers had requested even greater ambitions to be inserted into the climate change scheme. Overall, the Green Deal is bad economics that will affect the already dreary conditions of Europe and exacerbate the slowdown.
The Green Deal begins with the European Commission examining every European Union law and regulation and then modifying it to align with the bloc’s new climate objectives. If you thought the EU’s regulations were already egregious, just you wait until March 2021, when the bureaucrats will submit a package containing all the statist goodies. At least Great Britain will not have to.
Kirk Douglas was part of the “resistance” it could ruin one’s career and life. From Matthew Ehret at antiwar.com:
Hollywood film legend Kirk Douglas’ passing on February 5th at the age of 103 has resulted in a sickening level of hypocrisy from the leftist mainstream media outlets. These outlets have written countless homages and memorials honoring the life of the man who “used his star power and influence in the late 1950s to help break the Hollywood blacklist”as CNN reported on February 6. Similar eulogies have followed this line from MSNBC, the NY Times, Washington Post, as well as many Hollywood celebrities.
What makes this so sickening is not that these memorials are untrue, but rather that it is these same MSM/Hollywood forces that are the heirs to the fascist McCarthyite machine which Kirk Douglas and his close network of collaborators fought so courageously against during their lives.
Hollywood and the CIA Today
In recent decades, barring a few exceptions, Hollywood (just like much of the mainstream media) has become a branch of the CIA and broader military industrial complex. While fake news agencies as CNN spin false facts to the intellects of mushy-minded Americans, Hollywood prepares the fertile soil for those false seeds to grow by shaping the hearts and imagination in their victims through the important hypnotic power of storytelling. Tom Clancy’s Jack Ryan, Spielberg’s Bridge of Spies, Red Sparrow, and Bitter Harvest are just a few of the most popular propaganda films which portray Russians as the nefarious villains of the earth and heroically elevate the CIA to patriotic heights.
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