— Andrew Getraer (@AndrewGetraer) October 1, 2014
A few years ago my husband learned that the cantor who had supervised his Bar Mitzvah was forced into retirement. More than one member was floored that the now elderly man who survived the comings and goings of countless rabbis would be sent out to pasture because he didn’t fit the board’s “youthful” marketing strategy. Over five years later that same “out with the old” synagogue is struggling for membership. Every once in a while we’ll see signs in yards throughout our area offering an inclusive experience for Jews (“especially intermarrieds!”, often code for desperation) who want to find a “synagogue home.”
For us, the irony of the cantor’s story is one of the many elements that arise during the yearly “should we join a synagogue” discussion. Inevitably, we reach a series of conclusions common among Gen-X/millennial crossovers like ourselves. However, contrary to the popular opinion that money is the bottom line, our reality is that we don’t need to affiliate with a synagogue in order to live Jewish lives. And apparently we aren’t alone.
— Jason (@Vision365) February 14, 2015
Last week social media jumped on the story of a woman who supposedly decided to have a late-term abortion specifically because she found out she was having a boy. Based on a near-anonymous comment posted on an Internet forum, the story is highly questionable at best. Nevertheless, both pro- and anti-abortion advocates pounced on the missive. The dialogue generated took on a life of its own, inspiring the following comment from feminist site Jezebel:
“The virality of this story is sort of a nice reminder about confirmation bias: when something fits our preferred narrative just a little too snugly, it’s probably time for skepticism,” wrote Jezebel’s Anna Merlan.
How, exactly, does gendercide “fit our narrative” in the West, especially in relation to boys?
This year you could spend your Valentine’s Day in a theater full of middle-aged women oozing over a hot-bodied twenty-something whipping his blindfolded secretary to the point of striking blood in the name of “love.” Daytime television loves to play up to the Soccer Mom demographic (a title first dubbed to describe Clinton fans, ironically) seeking fantasy fulfillment in the form of sexual fiction. It was corny enough when shirtless Fabios graced the covers. Now that the most popular sex trilogy focuses on a woman who willingly allows herself to be sexually abused, is pop culture humoring those bored housewives too much?
While the majority of Fifty Shades fans are typical middle-aged marrieds dissatisfied with their partners (or even themselves), anywhere from 5-25% of Americans “show affinity” for BDSM (Bondage/Domination-Discipline/Sadism/Masochism) in the bedroom. On an issue that poses a particular sexual threat to women, feminists are split 50-50 between being against sexual abuse and for a narcissistic “if it feels good, do it” sexual ethos. Hence, a pervert who trolls Fanfiction.net (the original home of Hobbit-inspired Elvish/Dwarf porn) can turn her twisted sexual fantasies into an overnight sensation. After all, it’s all about love in the end. Or is it?
Self-dubbed “meninists” have gone on defense after a Superbowl commercial inspired women to proclaim to the world the power of being #LikeAGirl. Ironically, the sexism inherent in their response pales in comparison to the gender bias expressed in defense of the commercial. Once again, gender feminists out themselves as a group bent on erasing gender, specifically female gender, from American culture. The problem is that they are so bloody brainwashed in indoctrination that they don’t even realize they’re doing it.
In an attempt to defend the pride a woman should take in acting #LikeAGirl, gender feminists only manage to uphold the notion that women are weak and oppressed and need public approval in order to be “empowered.” Moreover, in order to gain that much sought-after public approval, women must take on androgynous appearances, hobbies or careers that require them to leave their femininity at home under lock and key.
“Black” has become an idol. Oddly enough we learned that lesson through the making of Selma, a film focused on the accomplishments of Dr. Martin Luther King, Jr. who boldly declared, “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character.”
Director Ava DuVernay defended the rewriting of history into what amounts to a black power narrative (mythical kneeling blacks before white cops and all), stating, “This is art; this is a movie; this is a film. I’m not a historian. I’m not a documentarian.” The mainstream media jumped on the bait thrown out by the film’s star David Oyelowo, who declared that ”parallels between Selma and Ferguson are indisputable.” The fact that neither the Academy nor filmgoers fell march-step in line only acted as further proof of the conspiracy against “black and brown people” in Hollywood.
— Max Blumenthal (@MaxBlumenthal) December 7, 2014
The race war fomented in the rise of the Black Power movement (the nasty “alternative” to King’s civil rights movement) continues unabated. In fact, it has opened on a new front, one that ties racial strife with national security and even international relations. Playing on strong ties to the Nation of Islam, Black Power now has its eye set on the Palestinian territories and places like Ferguson, Missouri, and the like are set to become the next battleground in the Israeli-Palestinian conflict, making way for the planting of hotbeds of radical Islamic terror.
But, to tell the story of Ferguson and Florida’s black activists traveling on solidarity missions to the Palestinian territories is to exact the same kind of indecent omissions as DuVernay. There are blacks out there who support Israel and who, in fact, draw inspiration from the civil rights movement in doing so. The primary difference between these black Zionists and their Black Power counterparts: They are motivated by Jesus, not Islam.
…in 2006, Cornetta Lane an African American at Wayne State University, even went as far as expressing this support by singing Hatikvah in front of an anti-Israel protester who claimed that Israel was a racist state.When Jewish students asked at the time why she sang Hatikvah, Cornetta replied that her pastor, Glen Plummer, explained that Jews significantly helped out African Americans during the Civil Rights Movement, and that Jews contributed significantly to both the NAACP and the Urban League, and were advisers to Dr. Martin Luther King Jr. Thus, when she saw that there was going to be an anti-Israel rally, Cornetta decided to take this step.
Much like Cornetta Lane, Chloe Valdary has drawn on her uniquely Biblical Christian upbringing and study of the civil rights movement to develop her own brand of Zionist activism. Dubbed “the Lioness of Zion,” Valdary started a pro-Israel student group on her college campus that garnered national attention, turning the college student into a speaker for a variety of Zionist organizations, including CAMERA and CUFI:
The parallels’ between the black struggle during the civil rights movement and the Jewish people today insofar as the legitimacy of Zionism is concerned is staggering. Martin Luther King Jr. [was] a Zionist but more importantly he realized that we must advance our duty when advancing the cause of human rights today. If he were alive today, he would surely be pro-Israel. This is one of the reasons why I am such a staunch Zionist.
Valdary is not alone. Dumisani Washington, a pastor and music teacher in Northern California, has formed the Institute for Black Solidarity with Israel, an organization “dedicated to strengthening the relationship between Israel and the Jewish people, and people of African descent through education and advocacy.” Raised a Christian, Washington had a strong interest in the Old Testament and Hebrew history at a young age. Growing up in the segregated south, he drew inspiration from the Exodus as well as Martin Luther King:
Dr. King was a staunch supporter of the State of Israel and a friend of the Jewish people. Many who know of his legacy know of his close relationship with Rabbi [Avraham] Joshua Heschel as well as the Jewish support for the Black civil rights struggle. Many are unaware, however, of the negative push back Dr. King got from some people. Particularly after the 1967 war in Israel, international criticism against the Jewish State began to rise. Dr. King remained a loyal friend, and made his most powerful case for Israel almost 1 year after the Six Day War – and 10 days before his death.
Both Valdary and Washington have raised the ire of pro-Palestinian organizations like Students for Justice in Palestine (SJP), an organization that misappropriates black history and depicts black supporters of Israel as the Uncle Toms of the 21st century. Contrary to the Black Power impetus forging the Ferguson-Palestine relationship, Washington has outlined the differences between the Palestinian liberation and civil rights movements, and in an open letter to SJP, Valdary condemned the organization, writing:
You do not have the right to invoke my people’s struggle for your shoddy purposes and you do not get to feign victimhood in our name. You do not have the right to slander my people’s good name and link your cause to that of Dr. King’s. Our two causes are diametrically opposed to each other.
Americans remain blind to these modern day civil rights/Zionist activists because, contrary to the preaching of Dr. Martin Luther King, Jr., we have been made into a color-centric society by the Black Power movement and its contemporary descendants. Race has become an idol. Black Power has created the mythical “black and brown faces” to be honored through tokens of affirmative action while sacrificing living human beings on the altar of ghetto culture because of the color of their skin. To remain blind to the idolatry of race is to remain blind to the real struggle for civil rights in America, the struggle to be viewed as a human being instead of a race-based demographic or a color-based “minority.” This is the struggle that unites rather than divides us on issues of economy, quality of life, and yes, even national security and the threat of terrorism.
Don’t let the stereotypical G.I. lunks distract you with their butt-smacking, “don’t you need to file something” portrayal of 1940s masculinity. Marvel’s Agent Carter is far from your oh-so-played-out second wave feminist portrayal of manhood – and womanhood, for that matter. Which is why it’s the best show going on television for feminism today.
For every lunk there’s a hero, Carter’s colleague Agent Sousa being one of them. One brilliant expository exchange sets the tone, demonstrating exactly how appealing real men find Carter’s fearless independence:
Carter: “I’m grateful. I’m also more than capable of handling whatever these adolescents throw at me.”
Sousa: “Yes, ma’am. Doesn’t mean I have to like it.”
Carter: “Well that’s another thing we have in common.”
Carter is a fully empowered female. Sousa knows it, respects it, and likes it. And Carter likes him for it. This kind of His Girl Friday exchange gets equity feminism the screen time our culture so desperately needs. Unlike her Avengers’ counterpart the Black Widow, Agent Carter isn’t squished into slicked up body suits and forced to perform gymnastic feats in order to intrigue her male audience. And unlike gender feminists, Carter draws authority from her sex and uses it to save the day.
Corinne Fisher and Krystyna Hutchinson, two wannabe-famous New York twenty somethings, teamed up to talk sex via their “running soap opera,” “almost reality TV show” podcast Guys We F*cked. Broadcasting under the “anti-slut shaming” banner makes Guys We F*cked appealing to the contemporary feminists at Salon who never turn down the chance to normalize twisted sexuality. Salon assistant editor Jenny Kutner sat down with the comedy duo more commonly known as “Sorry About Last Night” who, as they enter season 2 of their famed podcast, are looking to crowdsource funds from fans while noting that their careers are “…getting better because of the podcast, which is really exciting.”
Performing an editorial feat, Kutner defines the duo’s narcissism as “comedy with a purpose” in her attempt to define the two as feminists. In doing so, the assistant editor at Salon exposes exactly why contemporary feminism is failing 21st century women: Today’s feminists have worked to sever feminism from its historical roots as a biblically-grounded movement for women’s independence. What they’re replacing it with, a “social media feminism” as artist and feminist April Bey has dubbed it, is a mere mask for narcissistic, death-obsessed, goddess worship.
Twenty-four percent of married couple families with children under 15 have a stay-at-home mom. Ninety-nine percent of stay-at-home moms in the movies get a really bad rap. Search “Best Movie Moms” and you’ll get lists that include Shirley MacLaine in Terms of Endearment, Sigourney Weaver in Aliens, Shelly Duvall in The Shining, and more than a few mentions of Psycho. The majority of movie mothers are either widowed or divorced, careerists or working class, alcoholics or impregnated by UFOs. The closest you’ll get to a stay-at-home mom in post-1940s cinema is Kathleen Turner playing the psychotic Serial Mom or Michael Keaton taking on the role so his wife can pursue her career in Mr. Mom.
In fact, outside of Sandra Bullock in The Blind Side there hasn’t been a truly admirable middle-class, white, stay-at-home mother on the silver screen in over 50 years. Which is probably why Mom’s Night Out received such a negative critical reception when it premiered last spring. We have been acculturated out of believing in the power and purpose of stay-at-home moms. Yet, the criticisms leveled at Mom’s Night Out for its “depressingly regressive” spirit and “archaic notions of gender roles” were not applied to a similar film about a stay-at-home mom released only two years prior. This Is 40 received mixed reviews, but praise for yielding “…some of [Judd] Apatow’s most personal observations yet on the feelings for husbands, wives, parents, and children that we categorize as love.”
So, what made This Is 40 palatable in a way that Mom’s Night Out wasn’t? Is there, perhaps, a culturally acceptable way to be a stay-at-home mom?
Sure, you know how to write an assertive cover letter and you have a wardrobe of freshly pressed black and navy blue suits. But, just because you’re doing everything the manual tells you doesn’t mean you aren’t going to make a mistake in your job search. From my other life working in human resources, I give you the ten best mistakes applicants have made in pursuit of a job.
10. Want to include the fact that you taught an adult education course on photography on your resume? Don’t dub yourself “Adult Photography Instructor.”
Language matters. In the age of social media and Google, applicants should understand that lying on their resume isn’t an option. Just be sure you aren’t getting so creative with your wording that you make yourself sound more qualified for porn than a professional environment.
13. She has discovered a close kinship with George Costanza.
Sure, she may come off all serious in her videos, but Lana Del Rey has a seriously good sense of humor. According to Rolling Stone, Lana Del Rey ”has a George Costanza-like plan for the future.”
“I’m really specific about why I’m doing something or writing something,” she says. “But it always kind of gets translated in the opposite fashion. I haven’t done it yet, but I’ve learned that everything I’m going to do is going to have the opposite reaction of what I meant. So I should do the opposite if I want a good reaction.” She’s surprised to learn that George tried this approach in an episode of Seinfeld. “Oh really? That’s awesome. Me and George Costanza! Oh my God!”
I pushed off the idea of writing this article when I first heard that Joan Rivers, one of my comic icons, was rushed to the hospital after a botched outpatient procedure last week. I didn’t want to think about having to say goodbye to Joan, to bid farewell to yet another icon of an age gone by, a powerhouse who managed to be a cultural force until her last breath. The only solace we can muster is in knowing that, for these ten reasons at least, Joan’s memory will be a blessing.
10. Joan never grew old or gave up.
At 81, she was as attuned to pop culture, politics, and current events as a 20 year old. A self-made fashionista, the comedian never retired, sat in a chair, or gave in to technology. Joan will forever be a role model to women who refuse to trade style for a shapeless moo-moo and an office chair for a rocking chair. In her later years she paired up with Melissa, illustrating that mothers and daughters really can work together and get along. She was a modern Bubbe, surrounded by her children and grandchildren as she took the world by storm.
15. Everything you know about the social stratosphere is wrong…
College is nothing like high school. You understand this in theory, but have never experienced the kind of social freedom you will in college. There are no cliques. There is no lunch table. Welcome to the world of being an adult. For the first couple of weeks you’ll attend pre-arranged mixers, usually orientation events or annoying team-building activities your RA spent all summer training to lead. These awkward moments are helpful for one reason: Discovering who has a car. As a freshman, be aware that the parties you crash at frat houses aren’t for making friends, they’re for getting drunk and hooking up. You’ve been warned.
Also check out Leslie Loftis’ analysis of Beyonce’s performance at last night’s MTV Video Music Awards here.
10. “Bow Down/I Been On”
The Church of Bey has clearly gone to the pop goddess’s head. A critic at New Wave Feminism writes:
Aside from repeatedly yelling “bow down bitches”, the song also contains lyrics such as “I know when you were little girls / You dreamt of being in my world / Don’t forget it , don’t forget it / Respect that, bow down bitches”. Apparently, Beyoncé thought the appropriate response for young women who admired her and looked up to her was to call them misogynistic slurs and demand they genuflect in her presence.
This Bey Anthem doubles as the death knell of the sisterhood.
10. Sullivan and Son
This working class comedy executive-produced by Vince Vaughn and Peter Billingsley is fraught with all the non-PC ethnic and sexual humor you’d hear in a working class, Irish-Korean, middle-American bar like the one in the show. Created by Korean American actor/comedian Steve Byrne and Cheers writer Rob Long, the TBS sitcom reminds you that some jokes are still OK to crack. The stellar cast features Dan Lauria (The Wonder Years) and comic genius Brian Doyle-Murray, along with Christine Ebersole and Owen Benjamin, who portray the drop-dead hysterical mother-son dependent duo Carol and Owen Walsh.
We’ve all heard of the horrors of Cop Rock and Manimal, but after receiving a reader tip on one of their worst TV shows of all time, I did some digging and uncovered these utterly classic samples of bad television that would make great material for Joel McHale or the cast of Mystery Science Theater 3000.
10. Bucky and Pepito (1959)
Produced by Sam Singer, “The Ed Wood of Animation,” Bucky and Pepito was a typical story of an “ambitious” white cowboy and his “lazy” (literally, they sing about it in the theme song) Mexican buddy trolling the old west on a zero budget. According to Toonopedia, “Cartoon historian Harry McCracken once said the pair ‘set a standard for awfulness that no contemporary TV cartoon has managed to surpass. They were great at what they did, which was being bad.’” Thanks to Bucky and Pepito, cartoonists have debated creating a Sam Singer Award for truly bad animation.
The CW is planning to add Jane the Virgin to its fall lineup. Based on a Venezuelan telenovela of the same name, Jane the Virgin is about an intentionally virginal girl who is “accidentally artificially inseminated” by her OB-GYN:
Jane stars Gina Rodriguez (Filly Brown) as a hard-working, devout Latina who is kind of hoping her boyfriend proposes — though she’s a little worried he’ll get down on one knee so she’ll finally agree to do the deed. When a mix-up at the OB-GYN leads to that artificial insemination plot line, Jane must choose whether to keep the baby — and whether to let the handsome father into her life.
Aside from containing a number of Spanish stereotypes, including the paranoid grandmother putting the fear of God into her pre-teen daughter (“Once you lose your virginity, you can never go back!“) to a cast of overtly sexualized Latinas, the show appears to be a platform for some long overdue, serious conversation regarding abortion. However, the show sounds eerily like one of the most famously influential and revered plot lines in the West’s repertoire, leaving one to wonder how a primarily Protestant audience might handle a story that’s been a hit in a Catholic country.
When it comes to the primarily pathetic representation of Latinas on television (does Sofia Vergara have to do it all?) at least Jane the Virgin appears to lack the typical trashiness of Devious Maids.
You don’t normally think “cultural commentary” when you watch a Paul McCartney video. But, with his latest video release for the song Appreciate, the septuagenarian King of Rock continues to pull new tricks from up his sleeve. This time, a catchy song and dance number transcends the usual McCartney fantasyland, providing some smart commentary on human culture in an increasingly technological environment. In McCartney’s museum, the humans doing everyday things are the displays to be studied by a robot known as “Newman”. An artistic interpretation of left and right brain segments is displayed as McCartney walks this New Man (get it?) through the exhibit, counselling him on human behavior and how to groove. By the end of the video, even the humans are getting into the act, dropping their technological fancies in favor of dancing to the beat.
The robot itself shouldn’t come as a surprise to hardcore McCartney fans. Back in October, when he graced the cover of Rolling Stone McCartney commented on visions of a robot, possibly influenced by one of his favorite stories shared with his 10 year old daughter, Beatrice, is The Iron Giant. In press for the video’s release, McCartney commented:
“I woke up one morning with an image in my head of me standing with a large robot. I thought it might be something that could be used for the cover of my album ‘NEW,’ but instead the idea turned out to be for my music video for ‘Appreciate’. Together with the people who had done the puppetry for the worldwide hit ‘War Horse,’ we developed the robot who became Newman.”
Having developed a keen interest in filmmaking when he was still one of the Beatles, McCartney has come a long way with his films from his first directorial foray, 1967′s Magical Mystery Tour. Far from the acid-induced country bus tour, Appreciate provides an up-tempo perspective on the 21st century from the guy who, not long ago, was singing about his Ever Present Past.
Yet it isn’t Microsoft that’s keeping Macca relevant among Generation Hashtag; cultural commentary aside, McCartney still knows how to rock a beat. Dubbed a “remarkable album” by POPMatters, NEW was ranked the 4th best album of 2013 by Rolling Stone. Transcending the pop fluff that perpetuated so many of his hits in the 70′s and 80′s, McCartney has entered a new era as much motivated by experimentation as reflection.
McCartney is set to tour with Newman in Japan. Perhaps a Godzilla mashup is already in the works.
Or, as Anthony Ha says, “There’s An Upcoming TV Show Called Selfie And I Hate Everything About It“:
Executive: God, I hate millennials.
Showrunner: Yeah, but they’d totally watch a show called Selfie.
Executive: A show … about taking photos?
Showrunner: No no no, that’s just hook, see? It’s really a way to talk about our modern condition as a technological society.
Executive: Forget millennials, I hate you.
Showrunner: (quickly) Not as a serious drama. As a comedy.
Executive: Really? How many jokes can you tell about … whatever the hell they’re called?
Showrunner: That’s the beauty of it. You don’t need jokes, because technology is inherently funny. We’ll just throw in lots of smartphone screenshots and random buzzwords like “Insta-famous” and “oh-em-gee” and the kids will laugh and laugh. You won’t have to hire any actual writers!
One of the funniest (fictional) prospective pitch dialogues I’ve read in a while, Ha’s attack on ABC’s horrible (and horribly over-promoted) new sitcom for the fall is only one of the many signs that Selfie promises to be about as big of a hit as Viva Laughlin, the CBS non-starter based on a BBC series titled Blackpool. But hey, two episodes is better than nothing, right? And in the words of The Soup‘s Joel McHale, “Why would you cancel that? We need that.” After all, a millennial non-starter pilot that rips off one of the most popular classic movies of all time does make great material for those of us who prefer to MST our TV shows.
The real loser in this is Karen Gillan, formerly of Doctor Who, now the “Eliza Doolittle” of Selfie, who will be yet another reminder to British actors (alongside Downton‘s Dan Stevens and Call the Midwife‘s Jessica Raine) that Hollywood plays a totally different game than does the BBC. I doubt that even the Doctor could save this network bomb.
Joel Hodgson, on the other hand….(watch video on next page)
What is wrong with my children? Why won’t they let me completely immerse myself in their lives?!
Beverly Goldberg, The Goldbergs
Last week, my husband and I fell over laughing at the best line in the entire first season of ABC’s The Goldbergs. Just renewed for a second season, the autobiographical series created by Adam F. Goldberg (no relation) features, in his own words, “the orginial sMother” Beverly Goldberg, archetype of Jewish moms the world over. In his comic genius (complemented by Wendi McLendon-Covey’s masterful performance) Goldberg has managed to take a figure much-maligned over the past few decades and craft her into a clan leader who is as lovable as she is obnoxious. With her ballsy, brash bravado, Beverly is the living, breathing Jewishness in a show otherwise lacking in Jewish culture. For The Goldbergs, Jewish is not about kashrut, holidays or simchas; it is about a mother who smothers her children with equal parts love, confidence, and overprotection.
Thanks to Freud and Friedan, Jewish moms have taken a beating over the past few decades. Friedan used her own mother’s discontent with being a housewife as the impetus for her brutal criticisms of motherhood and housewifery, going so far as to describe the latter using Holocaust imagery. What Friedan failed to note early on was the antisemitic influence on her mother’s behavior. Not only was her educated mother forced to become a housewife the minute she married, she was also the victim of lifelong antisemitic prejudice. This attitude, something internalized by both mother and daughter, would later come out in brute force through Friedan’s feminist critiques of the Jewish mother. It was a position that Friedan would eventually come to regret. According to historian Joyce Antler:
…in later life [Friedan] has joined the modern aspirations of feminism with the popular emblems of her Jewish heritage, understanding that the myth of a controlling, aggressive Jewish mother has been as dangerous to the self-esteem of Jewish women (including her own) as the earlier “feminine mystique” was to all women.
The real-life Beverly Goldberg views her son’s television show as a “validation of everything she’s ever done.” I’d take her observation a step further; I believe Adam F. Goldberg’s seemingly simple, humorous portrayal of “the original sMother” is a much-needed cultural validation of the Jewish mother figure at large. Beverly Goldberg may not have the zaftig figure of her televisual predecessor Molly, but she has a zaftig heart, one that infuses the kind of family love into a sitcom setting that hasn’t existed since the Huxtables went off the air. In the midst of intense cultural debates on the value and future of motherhood, Beverly Goldberg’s intense devotion, undivided attention, and proclivity for jaws-of-life hugs are refreshing.
Happy sMother’s Day to Jewish moms around the globe. Just please remember to let your kids come up for air once in a while.
The Introduction to Pacepa’s Seeds of Knowledge: Starting Down the Yellow Brick Road…
Part 1: The Mask of Marxism
Part 3: Who Needs a Brain?
Part 4: Are Conservatives Cowards?
“The August 1991 coup in Moscow collapsed three days after it had started, providing the ultimate, ironic proof that nothing, not even a coup, could succeed any more in a society whose vital arteries had been calcified by 70 years of disinformation and dismal feudalism. The main loser was the Communist Party.”
– Lt. Gen. Ion Mihai Pacepa
Both the Democrat and Republican parties have been disinformed by Marxism. The Liberal wing of the Democrat Party has been duped into putting their faith in Marxism’s many forms (socialism, economic determinism, progressivism), while the Republican Party has legitimized Marxism as a form of party politics instead of a murderous, atheistic religion that empowers despots. The Conservative movement, by and large, is slow to recognize Marxism’s true nature, because we are a nation that has been drugged by Disinformation. Pacepa continues:
At the end of the 2001 summit meeting held in Slovenia, President George W. Bush said: “I looked the man [Putin] in the eye. I found him to be very straightforward and trustworthy.” Unfortunately, even President Bush was deceived by disinformation. Putin consolidated Russia into an intelligence dictatorship, not a democracy. During the Cold War, the KGB was a state within a state. Under Putin, the KGB, rechristened the FSB, is the state. Three years after Putin enthroned himself in the Kremlin, some 6,000 former officers of the KGB—that organization responsible for having slaughtered at least 20 million people in the Soviet Union alone—were running Russia’s federal and local governments.
…Is it too far-fetched to suggest that this new Russia calls up the hypothetical image of a postwar Germany being run by former Gestapo officers, who reinstate Hitler’s “Deutschland Über Alles” as national anthem, call the demise of Nazi Germany a “national tragedy on an enormous scale,” and invade a neighboring country, perhaps Poland, the way Hitler set off World War II?
That is the secret power of disinformation.
Pacepa share these thoughts with me mere weeks before the Ukranian revolution and secession of the Crimea to Putin’s Russia. Disinformation is wielding its power on the American homefront as well. In his critique of Thomas Piketty’s new book Capital in the Twenty-First Century, David Brooks embraces Piketty’s idea of a tax on the wealthy’s investment capital in order to create intellectual equality among the classes:
Think of how much more affordable fine art would be. Think of how much more equal the upper class would be.
His musings aren’t that far off from those of Russian intellectuals, who are “making do” with their government’s clampdown on free media and the right to protest. In exchange for their rights, these Russians whose intellectual arteries have been “calcified by disinformation” are being doted upon by their increasingly despotic government:
All sorts of entertainment is being lavished on Russia’s hipsters. Their favorite public parks have splashy, beautifully designed restaurants and clubs, comfortable biking areas and luxurious places to chill. Sanctions or not, Fedoseyev’s friends can still dine out at restaurants full of expats, take shopping trips to Milan, or buy their electronic gadgets online. Fashion Week this weekend was another party blooming with charming models and celebrities; the usual hipsters clubs, Solianka, Simachev, Oldich Dress and Drink or Strelka, felt as cuddly and crowded as ever.
To paraphrase Brooks, it would seem that the fine art is quite affordable in Russia these days. Like junkies seeking a quick fix, Russian intellectuals pursue disinformation at the expense of their freedom. Is Brooks suggesting we do the same, or have we already succumbed to the addiction? In either case, what we need to know now is: What is the antidote to disinformation?
Warning: Not Safe for Work (profanity)
In his new HBO series Silicon Valley, Mike Judge turns his cutting sarcasm on the wunderkind of Silicon Valley, issuing awesome commentary on 21st century masculinity.
Thomas Middleditch portrays Richard Hendricks, a developer who creates a miracle algorithm with revolutionary file compression capabilities. He is the anti-Don Draper: a skinny, nervous twenty-something dressed in cargo pants and a hoodie; Hendricks is the lost member of the Big Bang Theory click. He lives with two other computer geeks in “the incubator,” a house owned by the overtly obnoxious yet humorous Erlich Bachmann (hysterically portrayed by T.J. Miller), whose app, Aviato, has turned him into one of the many tech venture capitalists in Palo Alto.
Hendricks turns down a 10 million dollar offer from his tech guru boss Gavin Belson, owner of the fictional Google-ripoff “Hooli,” who is anxious to purchase the miracle algorithm. Instead, Hendricks elects to accept eccentric investor Peter Gregory’s offer of $200,000 for 5% of his start-up company, Pied Piper. It’s the best argument for capitalism and small business being made on television today. In electing to start his own business instead of running with the cash, Hendricks inspires his fellow nerds and is forced into maturity. Within the first three episodes he transitions from panic attacks to developing a business plan and entering his first series of negotiations.
With his 1999 hit Office Space, Judge issued a powerful statement about the death of masculinity in the corporate world. With Silicon Valley, his declaration is refined into a statement about how the free market can be used to empower men — primarily nerdy white guys and the Asians who hang with them. In the first episode, Hendricks declares:
Look guys, for thousands of years, guys like us have gotten the sh*t kicked out of us. But now, for the first time, we are living in an era where we can be in charge and build empires. We could be the Vikings of our day.
Judge also takes sharp jabs at the men who propagate corporate culture. Hooli’s Gavin Belson is a “global”-minded laughable yuppie with a Messiah complex who is “committed to social justice” and keeps a “guru” around to remind him how wonderful and unique he is. “If we can make your audio and video files smaller, we can make cancer smaller,” he proclaims as he races to compete with Pied Piper’s formidable nerds.
It will be interesting to see how women are treated within the show. In episode 3, Bachmann (who wears a shirt that reads “I know H.T.M.L.: How To Meet Ladies”) orders up an exotic dancer as a “gift” to reward the Pied Piper crew. The guys retreat to the kitchen, anxious to avoid an awkward scene. The one guy who she manages to trap declares his love for her, and is later found hanging out at the dancer’s home… playing video games with her children.
The series is peppered with Judge’s raunchy humor, but unlike Family Guy it is relatively sparse and works to advance instead of interrupt the story. The Big Bang Theory may have ushered in the era of the nerd, but Silicon Valley is taking America’s love affair with geeky guys and masculinity to a newer, deeper, and much-needed level of respect.
Hiding the ugly face of Marxism has become a real science.
– Lt. Gen. Ion Mihai Pacepa
We get it: Intellectuals who fall to the Left of the political spectrum dig Marx. Cultural critics like Ben Shapiro and Ben Stein have already made the excellent argument that academia is ideologically corrupted by said intellectuals, arguments that can be backed up by practically every conservative college graduate in the country. Now the focus has turned to public education, specifically the battle over Common Core Curriculum Standards (CCCS). You know what I’m talking about: Those crazy grammar assignments or math problems-cum-memes that pepper your Facebook and Twitter feed, usually accompanied by sarcastic comments like “Common Core is making me stupider.”
From a governmental point of view, Obama’s CCCS look like Bush’s No Child Left Behind on steroids: high-impact grant funding legislation that increases federal influence at the local level. Public school districts must report boatloads of data showing quantifiable achievements if they are to be rewarded with government funds. Many Americans doubt that a quality education can be quantified, but as Stalin was fond of saying: “Bureaucracy is the price we pay for impartiality.”
Which brings to mind Pacepa’s remark:
After the Kremlin expelled Romania’s King and declared the country a Popular Republic, the new government nationalized the school system, and decided to create its own type of intellectual — the “new man”.
Romania had its intellectuals before the Revolution. Most fled to Western Europe with death sentences hanging over their heads, still more wound up in gulags, and yet others elected to support the communist regime. A new generation of intellectuals would grow up behind the Iron Curtain, cultivating a subculture all their own filled with bootleg records and western media. They’d take menial bureaucratic jobs that would give them enough time to think and write – secretly of course – and maintain the culture their government denied them. Today’s Russian intellectuals have inherited the complacency of their parents’ generation, willing to “make do” as the government clamps down on free speech. It would seem, as Pacepa puts it, that their “vital arteries [have] been calcified by 70 years of disinformation and dismal feudalism.”
The harsh reality is that most citizens of the former Soviet Union do not know how to defend freedom because they’ve been educated to live without it. As the Wizard so kindly explained, the Scarecrow didn’t need a brain; he needed his intelligence to be quantified through a degree conferred by an authoritative source. This doesn’t mean that public education is a sham; on the contrary, this should illustrate how powerful an education can be in the hands of the educators as well as the minds of the educated.
We’ve discussed Marxist influences in our contemporary culture, but do we have the courage to confront Marxism in our daily discourse? Stay tuned for the next installment of Pacepa’s Seeds of Knowledge.
Most East European governments concealed their road to Communism by posting innocuous nameplates at the door, such as People’s Republic or Popular Republic.
Lt. Gen. Ion Mihai Pacepa
“People’s Republic” is such a chummy term. In fact, Marxism in general, with all it’s “redistribution of wealth” sounds so compassionate, at least to a Western, Judeo-Christianized mind. A Chinese mind familiar with Mao’s Great Leap Forward, for instance, may have a different take on the benevolent-sounding idea of a “People’s Republic” given the facts:
“State retribution for tiny thefts, such as stealing a potato, even by a child, would include being tied up and thrown into a pond; parents were forced to bury their children alive or were doused in excrement and urine, others were set alight, or had a nose or ear cut off. One record shows how a man was branded with hot metal. People were forced to work naked in the middle of winter; 80 per cent of all the villagers in one region of a quarter of a million Chinese were banned from the official canteen because they were too old or ill to be effective workers, so were deliberately starved to death.”
Mao couldn’t lie his way past a free press in the West. Nor could Khruschev, as Pacepa explains,
The 1963 missile crisis generated by socialist Cuba gave the socialist mask of Marxism a dirty name in the West, and few Marxists wanted to be openly associated with socialism anymore.
But, socialism is still hot. China is still The People’s Republic and “we’re all socialists now,” right? The last installment ended with the question: How have intellectual Wizards manipulated Marxism to acculturate the American mind leftward? Pacepa answers:
[Marxists] therefore began hiding their Marxism under a new cover called “economic determinism,” …a theory of survival rooted in Marx’s Manifesto (another theory of survival), but it pretends that the economic organization of a society, not the socialist class war and the socialist redistribution of wealth, determines the nature of all other aspects of its life.
When economic determinism lost credibility because of the devastating economic crisis in Greece, our Democratic Party began replacing it with “progressivism,” which has become the latest cover name for Marxism. …Today’s Progressive Movement was born in New York’s Zuccotti Park. It was first known as the “Occupy Wall Street” movement, which advocated the abolition of “capitalist America.”
Marxists in the West successfully propagate progressivism under the guise of “social justice“ that demands the redistribution of wealth to the less fortunate. Ironically, most people of the Judeo-Christian West accept this Marxist notion out of the goodness of their hearts. However, putting faith in the Marxist lie that human beings don’t have a heart (and therefore are incapable of compassionate decision making) requires handing over all financial power to the Marxist Wizards who proceed to dole out your funds as they see fit.
This speaks to the heart of the question, but how have the Marxist Wizards rendered us so seemingly brainless?
David, in your last response in our ongoing dialogue about Lisa De Pasquale’s new book Finding Mr. Righteous, you cited another disturbing passage from the book (shown above) and paired it with some of your own relationship experiences:
Some of the women I dated would shift the foreplay into one disturbing realm or another, either incorporating pain and degradation into how they treated me or requesting I act that way toward them. Never was it just “for fun” or “to be kinky” or to “spice things up”– always behind these outward expressions some inner emotional wounds ached, unhealed by a spiritual practice.
Or rather, as it turns out, the sex and the pain was their substitute for a religion. …The main takeaway that I’ve gotten from Paglia, supplemented by additional reading from books like A History of Sexual Customs and James C. Bennett and Michael Lotus’s America 3.0, is that throughout human history the Judeo-Christian conception of monogamous marriage is actually the “deviant,” unnatural way to live. History shows that the more “normal” way for both men and women to treat each other is the same way animals do in the wild — as disposable meat. Humans’ default setting is not to love just one person forever. When we do we are rising above our nature; do I go too far that Love itself is not natural?
David, I must congratulate you on your epiphany. You have discovered a truth that many in the mainstream Bible-believing sphere have tried to avoid for years: Those who put their faith in the Bible are the cultural deviants. How hilarious is it that a self-proclaimed atheist can state this so clearly? Then again, one of the reasons Paglia has been blacklisted by liberals is that she is so willing to discuss the difference between pagan and Godly behaviors. Liberals, especially the Marxists in the bunch, long ago learned that it’s much easier to behave badly when you do it under the guise of being Godly. In this case, Paglia’s too honest for her own good.