Sunday, September 19, 2021

We must overcome the Failure of Imagination and address the Almost Certain Zionist Role in 9/11 — Deep State became the New Mob — How Suppression of Discourse on Jewish Role in Soviet Espionage led to Taboos that later shielded Jewish Evil from Scrutiny

9/11 (MYTH20C - EP224) - PART II

On the matter of 9/11 truth, far more crucial than the question of 'Who did it?' is 'Who was behind it?'. After all, it was hitmen who shot Vito Corleone in THE GOFATHER, but they were hired by Sollozzo 'the Turk' who, in turn, served the Tattaglia Clan. And behind the Tattaglias was Barzini, the real Soros-like would-be-nemesis of the Corleone Family. Because of the 'buffers' between Barzini and the hitmen, he could pretend to be a neutral party among adversaries and even pretend to broker a deal. So, what really mattered in the end was the Corleone knowledge who was behind it. Of course, as Barzini gave the go-ahead, one could say he DID IT. But when there are hidden layers to any given event, there is what might be construed as plausible deniability for the one who standing in the shadows. It's like the devious general played by Adolph Menjou in PATHS OF GLORY. He manipulates people and hints & nods this way and that, but because he uses suggestions and 'buffers', he could always pretend to be above the fray and unprejudiced. And it's not like Arnold Rothstein did the footwork in fixing the World Series. He had others do it for him while keeping a distance. And Hyman Roth invokes plausible deniability in THE GODFATHER PART 2 when Michael Corleone presses him on who had Pantangeli killed. Roth says the Rosato Brothers, and that is incontestable, but then, who gave the go-ahead? It is then that Roth says he acted in the interest of 'business', just like Michael had done in taking out Moe Green. Roth both wins and loses the argument in that scene. By making a point that Michael is a killer too, Roth puts him in his place, especially as Moe Green was dear to him. Also, by mentioning how he'd risen above the 'personal' and accepted Green's death as fait accompli in the interests of 'business', he demands Michael do the same in regards to Pantangeli. And yet, Roth loses too as he lets the mask slip, just enough to convince Michael that it is indeed 'personal' with Roth who can never forgive the Sicilians for having killed a fellow Jew who was like his 'kid brother'. It's like Michael could never forgive those who plotted to kill his father despite claiming that it's about 'business'. At any rate, we need to remember that the Power uses a lot of buffers. This is why RICO laws were necessary to indict the higher-ups who gave the go-ahead. Of course, laws are only as good as those enforcing it. So, while the government will go after higher-ups in the mafia when the lowly goons kill someone, no such connections are made when Jewish globo-Zionist supremacists fund and recruit Antifa and BLM lunatics to attack Americans. The government is paralyzed when it comes to Jewish Power. There isn't anyone like Lee Van Cleef in FOR A FEW DOLLARS MORE who has the guts to take on the killer. Everyone gets cold feet when confronted with Jewish Power. Donald Trump love to talk big, but when face-to-face with Jewish Power, the only words out of his mouth was, "Can I suck your dic*?" And, while Jews pretend it's all 'business', it really boils down to being Tribal.

There is much to be learned from THE GODFATHER... and GOODFELLAS as well. Though about crime among Sicilian/Italian-Americans, THE GODFATHER stands as a metaphor for the rise of ethnic power in America. Part I is about how ethnics need tribal solidarity because the WASP-rigged Rule of Law doesn't always play fair, as Bonasera found out the hard way. And Part II is about how Wasps are a bunch of prejudiced hypocrites who say one thing but do another. Follow the way of Wasps and you end up like Senator Geary, a two-faced whore politician, or like Kay, an innocent who still believes in Girl Scout virtues. So, the Family, which is bound by blood and sentiment, is all important, which is why Michael cannot forgive Kay for killing the baby and Fredo for having cut a deal with Roth.
No doubt Jews saw a lot of themselves in THE GODFATHER. If THE GRADUATE was like a coming-out party for pushy Jewish neurosis(though Dustin Hoffman played a Wasp), THE GODFATHER was like a coming out party for ethnic power as a whole. "We are beating the Wasps." And even though Michael battles the arch-enemy Roth, Jewish viewers sensed in Michael's intelligence and cunning a set of traits closer to Jewishness. When THE GODFATHER movies first aired on TV as THE GODFATHER SAGA(told in chronological order), one Jewish kid in school got so excited that he read the novel and couldn't stop talking about it. I didn't know then but I can guess as to why in retrospect. He was one of those ultra-Jewish Zionist types and probably sensed in the rise of the Corleones a metaphor for the rise of Jewish Immigrant Power.
THE GODFATHER is instructive because Sicily in the movie can be seen as metaphor for Israel. Michael makes 'Aaliyah' to his ancestral land and reconnects with deeper roots. Sure, US is bigger and richer, and many Sicilians would love to ask any G.I. "to take me to America". But Michael becomes aware of a consciousness deeper than laws, rights, liberty, and wealth, things which draw peoples around the world to America. Americanism is ultimately about individualism and materialism. It's a sail but not an anchor. The modern 'exodus' was like a mass-Aaliyah of Jews to the Holy Land, not only to visit and reconnect but to take over and form a new nation based on ancient roots. Just as THE GODFATHER cannot be understood without Michael's transformation from a boy-scout American who believes in the Constitution & red-white-and-blue patriotism to a grownup family man with cultural roots & tribal loyalties, Jewish Power cannot be understood without its connections and loyalties that go much deeper than American Identity & Interests. When Jews say 'America', they really mean its utility to Jewish tribal-supremacism. Journals like 'American Interest' are essentially Zionist and Judeo-centric. Thus, Jewish-American history is not about Jews assimilating to generic Americanism defined by the Constitution but about Jews reshaping all American institutions, industries, icons, and idols to serve or at least complement Jewish Supremacist interests. In this, current America is indeed a Jewish gangster-fascist state(as opposed to a decent humanist-fascist one), and the workings of the Deep State obeisant to Jews are much like that of the mafia. Jews exposed WASP hypocrisy about the Constitution — White America spoke of liberty and equality but denied full rights to others based on race and even ethnicity — to delegitimize Anglo-American power, but ultimately it wasn't to create a 'more perfect union' based on universal(or at least colorblind) Constitutional principles but to install a new system that would be amenable to Jewish supremacism. Just ask the Palestinians. For all their talk of 'systemic racism' of 'white supremacism', Jews demand all whites to support Jewish Power and Zionism over Palestinians and Arabs. For all the BLM idolatry used to shame and 'guilt-bait' whites, the very Jews who push 'social justice' for blacks do everything in their power to suppress BDS, a movement calling for justice for Palestinians who are on the verge of losing their last few remaining territories. You won't see PALESTINIAN LIVES MATTER signs across America because Jews control the academia & media and because whites, 'blue' or 'red', are such ridiculous cuckeroos to Jewish Power.

9/11 and the Politics of Fear and Self-Preservation - We will either be remembered as a country that took freedom and liberty for all seriously or we will be remembered as a nation of cowards who, driven by fear, were willing to deprive this group, then that group, of their freedom ? before losing that freedom entirely by Whitney Webb - https://www.mintpressnews.com/9-11-and-the-politics-of-self-preservation-and-fear/278455/

Based on Martin Scorsese's gangster films GOODFELLAS, CASINO, and THE IRISHMAN, one gets the impression that the mafia faced steep decline beginning in the early 80s. One gets the impression that the government finally got its act together to put organized crime in its place(if not totally eradicate it). But there was more than one reason for the fall of the Italian-American Mob. One had to do with family-centrism. Whereas Jewish identity was essentially tribal(and spiritual-historical), Italian identity was essentially family-or-clan-oriented. This meant too many blood feuds among Italians, making it impossible for them to come together as a cohesive community. In THE GODFATHER, the Italian families wipe each other out. It's like blackness is usually about 'muh gang vs yo gang', what with East Coast Rappers and West Coast Rappers dissing one another, or the war between the Crips and the Bloods. While internecine Jewish violence existed, it was never to the extent among Italians or blacks, or among the Irish — it's been said Irish national identity was more viable in the US because the Irish in Ireland were usually at each other's throat. Perhaps, the stronger sense of male pride made things bloodier among the 'goombas'. There was another problem with family-centrism owing to the rising libertinism of youth culture and the impact of feminism. Family power relies on patriarchy, and younger Italians took on a more defiant attitude toward elders. And Italian-American womenfolk became more 'independent'. Also, it was only natural that the smarter and saner among the Italian-Americans would join the mainstream, making the mafia even more reliant on the dregs of society.
But it also had to do with Jews. Jewish Power wasn't only gunning for WASPS in control of 'virtue' institutions & industries but the ethnics(especially the Italians and others in control of Labor Unions with their fat pension funds) with their hooks on vice industries.

Jews, with their power over academia and media, would gain control of the gods and redefine what is holy and unholy. The New Normal in virtue would be philosemitism and even globo-homo. Today, it's oh-so-virtuous to wave the 'gay' flag while it's questionable to say 'Jesus Is King'. White Symbols are deemed satanic and must be removed... and replaced by Jewish-favored symbolism.

A Nation Conquered: Gay Pride Flag to Replace Robert E Lee Statue.

What passes for the New Normal in 'virtue' is really a form of neo-satanism, but most Nice People don't think seriously about what is good and bad. Rather, they are easily swayed with symbolism, iconography, and narrative as to who/what are holy or unholy. The priority of Nice People is to be approved, liked, and welcomed by whatever has prestige and status in the moment. Of course, as Nice is generic and bland, it is partial to Spice(provided by salty Jews, peppery blacks, and minty homos). Anglo-Americans used to control the gods. US used to be a Christian country in which European-Americans had special claim and pride of discovery, settlement, founding, and development. That had to go in order to bolster Jewish Power as the controllers of the gods. The New Normal in Virtue is all about 'diversity', 'equity', and 'inclusion', of course, as Jews define those things as the last thing Jews want is equity between Jews and Arab-Americans and inclusion of (pro)Palestinian voices on the editorial board of NYT and WAPO. To gain control of the gods, the icons of 'virtue', Jews needed to bring down the WASPS.

But Jews also wanted control of vice industries. Too much money to be made in gambling, drugs, and sexuality. Jews took over prostitution from blacks by having pornography legalized. In regards to gambling and drugs, as long as they were deemed as vices, they belonged to the underworld with questionable legal protection. Gangsters could buy favors from politicians and the police, but there was a limit to crony relations between outlaws and the law(unless we're talking of countries like Mexico where it's hard to tell where the law ends and crime begins). It's like Vito Corleone says the Law will tolerate gambling and even prostitution to some degree but may not do so with narcotics.
At any rate, as long as certain vice industries were illegal, it favored the Italians over the Jews. Operating in the dark underworld, Italians could use muscle to bump off or intimidate their rivals, including Jews. And Jews couldn't rely on the law for protection since they too were operating in the dark. But if vice industries were made respectable — "Desert Inn has heart", Las Vegas as the Christmas Place to Be — , they could have all the legal protection from the Establishment that would, sooner than later, become dependent on handouts from the industry. Consider how both parties were once loathe to be associated, at least directly, with the gambling industry, but today, even the GOP, as the party of 'conservative' values, is totally servile to Jewish-Zionist moguls of Las Vegas. And what are Mormons about except More-Money? Once the vice became legal, Jews could make lots of money and have legal protection against the Mob. Today, legalization of marijuana means even more money for the Jews. This was why the Italians hardly made any headway in Hollywood, which was legal from day one. Jews made money legitimately from day one by making & marketing movies and had the protection of the law, especially with all the money they threw at it. It's like the police chief in BIG LEBOWSKI goes out of his way to protect the Jewish pornographer played by Ben Gazzara, a 'respectable' member of community because pornography has been legalized and is a big money maker.
Though Scorsese didn't spell out the ethnic angle — he came closest to it in CASINO, not least because of the character of Ace Rothstein — , his gangster movies are like barbed lamentations of the fall of Italian Power when sin was sacralized and came to be owned by Jews with backing of the law. CASINO ends with the image of mob-controlled gambling palaces being demolished to make for new ones erected with 'clean' Wall Street money. The money, instead of coming from grubby Labor Unions with their ties to Italian hoodlums, now came from respectable Wall Street firms run by Jews and Wasps(who now followed the lead of the Tribe as the New Boss in town).

But did the fall of the Italian Mob mean the US became a better and cleaner country? No. The forces that demolished the Mob took on all the facets of the Mob. Indeed, GOODFELLAS could now be seen as metaphor for the Deep State that attracts the kind of people who see themselves as being above the law. They want to be 'made men'. It's like the US is ruled by the Jewish Mafia or Schmafia, which has tentacles in every corner of society: government, media, academia, finance, entertainment, gambling, real estate, NGO's, Antifa, etc. If Jews want to bomb a country, the Schmafia coordinates among Jews in think tanks, media, and deep state. If Jews want to rig an election, they marshal forces to 'fortify' the results. If Jews want to intimidate MAGA people or shut down free speech, they use their goons in industries or on the streets, not unlike how the guys in GOODFELLAS make sure mail from school doesn't get delivered to Henry's home. If ADL wants someone shut down, Jewish-run Paypal and Jewish-run Media(and all the worthless cuck-dogs) go along and work in tandem.

If Jews want to spread fear and hysteria, they call on their hirelings in deep state and media to push something crazy like 'Russia Collusion' Hoax. If Jews want to rake in big bucks and gain control over us, they use the Medico-Tyranny of Covid Hysteria. If Jews want more money, they play more dice on Wall Street as just an extension of Las Vegas, and if they lose, they get bailouts from whore-politicians like Barack Obama and grow even richer. Like Paulie in GOODFELLAS, Jews win no matter what. What Paulie does with the restaurant is like what Jews did with the Housing Bubble that led to the crash of 2008. Of course, Jews didn't get punished but even got richer with Obama as their toady. Of course, what Jews did to Russia in the 90s was even worse. And Jews wonder why the Holocaust happened.

Jews get to decide what is what. BLM and Antifa scum running amok and burning down parts of cities? That's OK as they're useful to Jewish Power. But those Jan. 6 protesters, they are 'domestic terrorists' and must be placed in solitary confinement and be treated like Abu Grahib prisoners. As for free speech, forget about it. It's only for Jews, not for goyim(unless their idea of 'free speech' is to parrot the Jewish line). Jews in deep state work with Jews in media and big-tech to silence anyone they don't like. And Jews in finance go along and deny service to people based on ideology. It's like Americans are now Palestinians. But because Jews control the gods and Jewishness is deemed holy, even those negatively affected by Jews don't name the Jew but complain about 'Chinese-style censorship' when in fact Censchwarzship in the West is Jewish-conceived and predates whatever the Chinese government is doing now.

In a crucial way, the rise of Jewish Vice cannot be understood apart from Jewish control of Virtue. Once Jews gained control of the gods and made Jewishness into a icon of holy-holocaustianity, it became taboo to call out on bad Jewish behavior. Why, that'd be 'antisemitic'. So, both parties hail Jews, suck up to Jews, no matter what Jews do. Whatever differences Donald Trump and Nancy Pelosi may have, they are 100% agreed on the duty of all Americans to lick the Jewish Boot. Notice the total silence on both the 'left' and 'right' when Jonathan Pollard was sprung from prison and flown to Israel where he gave the US a big fat middle finger... and standing right next to Netanyahu. The cult of Jewish Virtue made Jews sacrosanct. US is said to be anti-theocratic, but its religion is the trinity of Jew-Negro-Homo worship. No amount of rational or factual argumentation can justify the casting of doubt on the purity of Jewish-Black-Homo souls(and bodies). Then, it's hardly surprising that the more Jews have been sacralized, more satanic they've become. It's the logic of power to grow more abusive and corrupt if unchecked. Same with black violence. One might think it's rather odd that black body counts piled up after 2020 when the national slogan was BLM or Black Lives Matter. But BLM is predicated on the sacral view of blacks as holy innocents and soulful saints who are being hunted down by 'white supremacist' cops feverish with 'systemic racism'. It means all the moral burden is on whites and none on blacks. Blacks, being naturally more prone to violence than other races, were bound to act even worse when indulged in such way. If a violent alcoholic is hailed as the most exemplary teetotaler, of course he's going to drink more and do more damage. Why would he stop when his drunkenness is said to epitomize the highest virtues of sobriety?

Whitney Webb Interview ? 9/11 Gas-Lighters & The Rise Of The Biosecurity State - https://www.thelastamericanvagabond.com/whitney-webb-interview-9-11-gas-lighters-the-rise-of-the-biosecurity-state/

Perhaps, some people are beginning to wake up... which may be Jews are even more hysterical in pushing Covid nonsense to maintain total grip on us. Take the Jeffrey Epstein affair. The circumstances surrounding his death is something out of a gangster movie. On the night of his demise, the cameras weren't working and guards were asleep. This wasn't just some 'any prisoner' but the most famous or infamous one in America, a scandalous public figure. The government and the media should have been watching his every move, but the story was disappeared after the official narrative came out about his 'suicide'. US bitches about Russia as a gangster state, but how did this happen in the US? And what really happened? Was Epstein secretly ferreted out and sent to Israel while a body double was used as corpse? Or was he told, like Pantangeli in THE GODFATHER PART 2, to kill himself for the good of the Tribe? If Epstein did kill himself, he must have done so on order, but then, who gave the order? Or was the order given and refused by Epstein, therefore he had to be killed in MICHAEL CLAYTON style. Of course, there is the possibility that the official story is true, and he really did kill himself out of depression, but the circumstances surrounding the death are too suspect. It suggests gangster operation. Given the strangeness of the events, why weren't the media and FBI pursuing all possibilities? They had no problem pulling out all the stops when it came to the fantasy of Russia Collusion, but on the matter of Epstein, it was 'case closed' and that's that.
At the end of GOODFELLAS, it seems like the 'goombas' are finally getting their comeuppances, and forces of the Law finally have the upper hand. But look at the Deep State today, and it's just a fancier version of the world of Henry Hill and Paul Cicero. And just like the hoods laugh at the Constitution and the suckers who pledge allegiance to the flag, you can bet the Jews and their deep state goons laugh at anyone who invokes the Constitution and patriotism. It's all about the power, their own. It's more about The Prince(Machiavelli) than principles.

Now, what is the operative mode of Jewish Power? Is there like a super-don of the Tribe who gives orders to underlings in a chain of command? Is the Jewish Power structure like that among the Italian mafia or the Japanese yakuza? A strict hierarchy? No. Indeed, such structuralism proved to be an Achilles Heel for the Italians. Italian mafia power depended on bosses and flunkies. Some give orders, some take orders. So, the removal of a top boss could prove fatal for the organization. Or if the command chain was disrupted, things could fall apart. In contrast to the Italians, Jews were more individualistic in their roles. They were more likely to rely on initiative and improvisation, not least because an average Jew was smarter than an average Italian(who would have felt lost without someone telling him what to do). So, even when a top Jew fell or the system was disrupted, Jews were far more adept at regrouping and adapting to new situations. Perhaps, this owes to Covenant consciousness that imbued every Jew, no matter how lowly, with a sense of self-worth as one of the Chosen.
While Italians could be colorful and expressive, they weren't truly individualistic in the manner of Jews. But then, individualism among Jews revolved around Jewish identity; it wasn't like white goy libertarian individualism prone to atomization and personal liberty uber alles.

Jewish Power was more antennaeic than earphonic. Earphonic power is about taking orders from above. Someone high above gives orders and those below pass the orders to those lower down the line. Earphonic power operates by with specific directives, without which those lower on the rung would feel lost.
In contrast, antennaeic power is something sensed without being told. It doesn't have to be spelled out. There doesn't have to be a meeting of the cabal every so often and memos sent out to every member of the system. Instead, there's a shared buzz, a mental hum, an understanding that THIS is what it's all about. It's like how ants operate. Ants go about their routines not because they are given a set of directives on a day to day basis. Rather, they feel the constant buzz of what needs to be done and what their duties are in relation to fellow ants. And it's the same among bees. Via their antennas, shakes of the bodies, or droning hums, there is a mutual understanding of what needs to be done.
Now, such antennaeic sense exists in all groups. After all, if everyone only acted on directives, so much that needs to be done would not get done. Even without orders from above or agreement stamped on paper, members of a unit must have a sense of what must be done(especially in times of crisis) to maintain or restore order, or to expand power and gain extra advantage.
But the antennaeic sense has been stronger among Jews. Jews understand the power potential of the mental hum. Not for nothing did Jews understand more than most people the importance of electronic mass media. For the first time, humanity had the means to create and sustain a mass hive mind. Millions of people hearing the same radio program or watching the same TV show would share in the same senses and emotions at the same time. It was almost as if all their minds were interconnected into One Mind. So, those who controlled the electronic medium would effectively control the mass hive mind, and this control could be used to strengthen or weaken a people's sense of identity; it could be used to define their sense of righteous community, to which one's loyalty would be (re)directed. Prior to electronic media, certain ideas could, over time, spread far and wide through books, newspapers, lectures, and meetings, but each individual or community acquired it in its own way, own place, and own time. Also, each community could filter and adapt the idea or message to its own ends, needs, and liking. But with electronic media, all the country(and even all the world) could be subjected to the exact same images and sounds controlled by the same select elites.
This power over electronic media meant Jews could mess with the antennaeic sense among goyim. It could be disrupted, distorted, and even re-programmed. It's like ant and bee behavior can be messed up with electronic signals(or some say). Of course, Jews fear messing up their own antennaeic senses and loyalties, which is the subject of SERIOUS MAN by the Coen Brothers. In the movie, a Jewish family in Minnesota is bombarded by the same set of influences by mass media. TV antenna connects every home to Hive Society, and it means Jewish kids are 'mass-culturized' like rest of America. Pop Culture dominates all, and what might it do to Jewish identity? But, Jews have one ace up the sleeve, and it is near-monopoly control of TV and music industry. Thus, even as Jews use the media to promote Pop Culture and Mass Entertainment for everyone, both are subtly designed to subvert and weaken white consciousness while passing-over Jewish identity and interests. The antennaeic power among whites are scrambled and/or reprogrammed while Jewish antennaeic connections remain relatively unperturbed.

This is why it makes little sense to fixate on some secret cabal of Jews that is hatching the big plan and handing out all the orders. No such single cabal exists. Even though the likes of George Soros and Michael Bloomberg are very rich and powerful, Jewish Power would continue as is even if both were to drop dead this very moment. Jewish Power isn't earphonic. It's not a simple matter of powerful Jews whispering orders to lesser Jews, like in National Socialist Germany or militarist Japan. When the Nazi regime was destroyed in Germany, everything related with it faded into dust. When Hirohito told the people, "Look, we are beat" and the military leaders admitted defeat, it was all over for Japan. Orders came from above, and that was that. That was earphonic power.
But while there is a hierarchy among Jews as well, the essence of Jewish Power is in the antennaeic buzz among the Jews. Jews don't need to be told what's what. They sense it. They know and understand and indeed were inculcated in Jewishness from cradle or come to adopt it eventually as what gives the most meaning in alienated modernity. Each Jew is like Barzini who knows without being told. Jews in the media didn't need to be told about what WMD lies or Russia Collusion Hoax was all about. They sensed what those were about — "Is it good for Jews?" — and did what they could to help out the Tribe. It's like what Roma says in GLENGARRY GLEN ROSS. One must know without being told, without it being spelled out. That's how you help each other out in the company.

Tom Hagen: When I meet with Tattaglia's men, should I insist all their drug middlemen have clean records?
Don Corleone: Mention it, don't insist. But, Barzini will know that without being told.
Tom Hagen: You mean Tattaglia...
Don Corleone: Tattaglia is a pimp. He never could have outfought Santino. But I didn't know until this day that it was Barzini all along.

The thing about Barzini is he's smart and perceptive. He knows what's what. He knows the angles and how to play all sides. Nothing has to be spelled out for him. It's the difference between a soldier and a hunter. A soldier goes out to fight and kill based on orders. Without orders, he's a man of peace. But a hunter hunts because that's what he does. He must make his kill any way he knows how. Blacks evolved to be hunters, which is why they are so restless as thugs and criminals. Among Jews, the game was to hunt the suckers, rich or poor — dimwit goy aristocrats were rich suckers, and Anglo elites proved to be suckers too. Rather than bagging a hippo, wildebeest, or gorilla, Jews were trained to bag the suckers... as in GLENGARRY GLEN ROSS. This led to unpleasant Jewish traits but also self-reliance, initiative, perceptiveness, boldness, and a sense for ambiguity, which allows for passive/aggressive traits among Jews. Take Jordan Belfort, the weasel of Wall Street.
So, unlike Japanese who are totally lost without a command center telling them what to do, Jews know-without-being-told. Thousands of years of Jewishness taught Jews that wherever they go, they must do what is good for themselves as the members of the ancient tribe of the future. They must do this without being told what-is-what and what-to-do. In contrast, when Japanese move from Japan to the West, their first reaction is to find out who is the boss and what must be done to serve him and win his approval. This is why Francis Fukuyama serves the Jews in the US. He noticed Jews got the power, and his duty as Japanese-American is to serve the big boss, the globo-shogun. And according to James Clavell, the 'taipan' is very important in the Chinese context. Jews felt contempt for Teutonic Germans as a people incapable of doing anything without strict orders from above, a people incapable of deviating from orders, no matter how ridiculous or insane.
In contrast, even though Jews are well-aware that certain Jews are super-oligarchs and moguls who command more respect, they know-without-being-told, and their imperative derives from the prestige of Jewishness itself, not the power of certain rich privileged Jews. Even if all the rich super-Jews were to lose power and wealth in the US, Jews would still know-without-being-told and work in the interests of Jewishness. In contrast, Japanese-Americans will always switch loyalties to the New Boss. In the past, they served the Anglo-American bosses as the US that defeated Japan in WWII was Wasp-dominated. Now, they serve Jewish bosses who are masters of America. If Jewish power were to fall and if the future of America were to be decided by Hindus, Japanese would be serving the Neo-Brahmins. Once Japan lost the war and became a mama-san whore of Uncle Sam, its main objective has been to serve the US and do its bidding like a dog.

The antennaeic way is crucial to Jewish Power because, despite pathological levels of unscrupulousness, most Jews will not go along with the plans of Crazy Jews if things were spelled out. Imagine a Big Jew saying to a Little Jew: "Look, I'm a Big Jew, and you're a Little Jew. I know a lot of powerful people, and you little Jews are useful to us. We Big Jews are hatching a plan to bring down the Twin Towers by using Muslim idiots, and we want you Little Jews in the media space to push a certain narrative so that idiot goy Americans will support Wars for Israel." Even the most pro-Zionist Jew in the media will have a hard time saying YES to a whopper like that. So, the trick for the Big Jew is to carry out the plan without telling the Little Jews(and even most Big Jews who aren't in the inner circle of the plot). Just do it and rely on the antennaeic sense among Jews to go along regardless of their suspicions(and even sense of outrage) because the (1) Jewish Way is always to circle the wagons and (2) Jews are deathly afraid of Another Holocaust, especially one that confirms Hitler's view of Jews as agents of subversion and treachery. Jews know-without-being-told what's up and what they must do. This is why, bigger the Jewish crime, more the Jews close ranks. Part of the reason is tribal loyalty going back to ancient times but another factor is abject fear of being found out by goyim that, gee maybe just maybe, the Anti-Semites were right. The (2) factor affects even good decent Jews. They want fellow Jews to be good and don't want to support Jews doing bad, but what choice do they have but to go along with the official 9/11 narrative when the alternative, the Jews-done-it theory, would indicate that there is something seriously sick in the Jewish Mindset and vindicate the 'canards' of the Anti-Semites? If indeed Israel had a key role in 9/11, it means the US has the moral right to nuke Israel like it did Japan in WWII. It means Hitler, though wrong in the treatment, was right in the diagnosis of Jewishness as a kind of Cancer of History.

Now, one would think Jews wouldn't face these problems IF they acted nice and normal. If Jews act good, they got nothing to hide. Or, if they acted bad in the conventional way, they'd be no worse than the rest of humanity that isn't full of saints either. But, Jews are nothing if not arrogant, ambitious, megalomaniacal, restless, holier-than-thou, and at once self-righteous and nihilistic. They got the god-complex & gangster-mentality and want to play the world like a god-gangster. They want to be the grand chess master of history and also the handicapper and rigger. There are too many Jews with personalities of people like Alan Dershowitz, Mel Brooks, Jordan Belfort, Jeffrey Epstein, Harvey Weinstein, and Jennifer Rubin... and Bobby Fischer, who hated Jews for doing to the world what he did on the chess board: Total arrogance, total control, and total intolerance. Hoping for Jews to be normal by white standards is like expecting Negroes to be 'nice'. It's like expecting homos to be modest. It's like expecting alcoholics to be sober or expecting degenerate gamblers to be self-restrained. Jews see the world like rough-housing homos approach sexuality. It's there to be f***ed in the ass.

Now, as to what really happened on 9/11, the official story is plausible if and only if the following scenario is true. The 1990s were such a good time for the US that its intelligence services were asleep at the wheel. It was assumed that terrorism could only happen abroad and never touch US soil. There had been an attack on the World Trade Center in the early 90s, but the instigators were captured and dealt with. There was the Oklahoma Federal Building bombing, but that was domestic terrorism. Also, no one thought the radical Jihadists would be so bold as to carry out such a grandiose plan, one of Wagnerian proportions. Indeed, someone went so far as to say the US security failed in its 'imagination'. Thus, a Black Swan event happened out of the blue. This narrative is surely true to an extent, i.e. many well-meaning and diligent people working in US security departments really did fail to imagine such a scenario and were genuinely caught off guard. Likewise, most Americans in government were genuinely taken by surprise by the attack on Pearl Harbor. For them, it was indeed a shock. But there's still the question, what did FDR and the men around him know? Did they steer events to force Japan into a war with the West? Did FDR know the attack was imminent and let it happen? After all, most Americans didn't want to enter the European War. Partly, it was because of the sour aftermath of World War I, and furthermore, white majority America didn't want to fight another war where whites killed whites. And if Europeans were slaughtering one another, that was their business. So, the only sure way to stir up public support for war was to have Japanese as Yellow Peril attack the US. Make it a Race War, and then, everything would fall in place as Germany was allied with Japan. If FDR had foreknowledge of Pearl Harbor attack and did nothing, it goes to show that a tragic event need not be an 'inside job'. The trick is to let an Outside Job happen by goading foreign actors into aggression, either out of desperation or stupid arrogance, or bit of both, as was the case with Japan. The oil and iron embargo drove Japan into desperation, but there were plenty of hotheads in the Japanese militarist state who were willing to gamble it all. FDR only needed to play it cool. Choke off Japanese's supplies and wait for the hotheads to prevail in Japan. There was no need for an inside job: Americans blowing up Pearl Harbor and then blaming it on the 'Japs'(and maybe the Nazis too) to pave for US entry into war. (The lies about Gulf of Tonkin Incident were more brazen.)

Still, there is a big difference between Pearl Harbor and 9/11. That a major attack on Pearl Harbor was planned by the Japanese military is totally plausible. It was a big event hatched by a complex organization with lots of tools to work with. In contrast, 9/11 was, in some ways, even more audacious, but we are to believe it was plotted by a bunch of rag-tag terrorists in the caves of Afghanistan and carried out by a bunch of Muslim ne'er-do-wells with box cutters. Also, if the terrorists had managed to get hold of ONE airplane, maybe it would have made sense. But they nabbed four planes? And one even swooped down and hit the flat Pentagon building at a perfect angle even though, to the best of our knowledge, terrorist-pilots only had the most rudimentary flying skills? And even though the main actors were of Saudi origin, the US grew even cozier with Saudi Arabia while hitting Afghanistan and then Iraq, a nation that had NOTHING to do with 9/11? The two possibilities are the official narrative is essentially true: (1) Muslims with box-cutters caught off-guard the overly complacent Americans and were very lucky in carrying out the plot to successful conclusion, BUT the powers-that-be exploited the event to fulfill the Neocon agenda (2) Even though Muslims were certainly involved, the series of events were orchestrated by a hidden hand, that of Zionist-Globalism.

If (1) is true, the Neocons have to be the luckiest people in world history. After the end of the Cold War, they were itching to have the US get involved in Wars for Israel, but most Americans lacked enthusiasm and wouldn't have voted for politicians calling for what came to be known in Neocon circles as 'World War IV' premised on the concept of 'clash of civilizations'. Indeed, Bush II eked into the White House by promising a more humble foreign policy. So, it seemed like the Neocon plan would never come to fruition. US would go on supporting Israel against Palestinians and continue with sanctions against Iraq, but otherwise, the Yinon Plan would remain on paper and never see the light of day.
Besides, Israel wasn't about to do the fighting itself. Even as the most powerful nation in the Middle East, it would have been a bridge too far to wage wars on all those Arab/Muslim nations, especially as Jewish blood would have to be spilt. As far as Jews were concerned, Wars for Israel had to be done by goyim whose blood and treasure were seen as expendable. But, just when the Neocon Dream seemed hopeless, out of the blue a bunch of Muslims with box cutters emerged as godsend and carried out the biggest terrorist attacks on US soil and not only made the Wars for Israel likely but inevitable. With Bush II's approval at 80%, Americans were revved for revenge and mayhem. Were Neocons really so lucky? They were plotting the Wars for Israel and needed a catalyst to set them off, and just like that, the Muslims delivered the ultimate gift that gave Neocons a free pass to do as they pleased for years to come(and the so-called Liberal Jews who took over with Obama even took it further by spreading wars to Libya and Syria, but then Bush II's wars were an extension of Bill Clinton's policy of provoking unrest in the Muslim World with sanctions and bombings). Luck is a factor in history, and just because an event favors a certain regime doesn't mean it was hatched by that regime. Russia and China gained advantages due to US failures and setbacks in the Middle East, but they didn't cause those events. Rather, US shot itself in the foot, and others gained advantage. (We are not supposed to ask if Jews were involved in 9/11, but Jews had no problem spreading rumors, innuendoes, and outright falsehoods to tie Saddam Hussein to 9/11. Apparently, it's 'antisemitic' to ask if Jews were up to no good, but it's A-Okay to suspect Arabs/Muslims of doing horrible things even when there is zero evidence.)
9/11 almost too perfectly fit the Neocon script. And considering that real estate big shots were looking for ways to get rid of the Twin towers and that Larry Silverstein not only bought insurance few months before the attack but missed work on the day of the attack(over some bullshit doctor's appointment), the whole thing smells like a skunk. And Building 7's collapse is suspicious too. And the Dancing Israelis and the fact that the US government suddenly dropped all investigations and let them return to Israel also suggest "there's something happening here, what it is ain't exactly clear". And recent media treatments of Jeffrey Epstein story, Hunter Biden's Laptop, Covid hysteria, and possible election rigging hardly have done much to shore up our confidence in the media as a source of truth and trust. And most journalists are hardly different from politicians. They are status-seekers who serve favored narratives than pursue facts, especially as Political Correctness has turned ideology into idolatry, the holy gods to serve. So-called secular 'liberals' are quasi-religious in their conviction that Jews, blacks, & homos are holy while anything associated with the 'Right' is evil or, at best, just barely tolerable, if it cucks to Jews, blacks, and homos(like the GOP does all the time). The Religious Mind will always favor the sacred over the factual, which is why we have 'woke' journalists pushing the obvious lie of the Russia Collusion Myth(against 'literally Hitler Trump') and pretending BLM riots are 'mostly peaceful protests' or that rising murder rates among blacks have to do with Covid lockdowns than the enshrinement of moron George Floyd. There is also status vanity: They work for the 'respectable' media, so they must be right even when they're wrong; and those in the 'alternative' media must be wrong even when they're right because anything outside the mainstream is just 'conspiracy theories' pushed by basement dwellers, even though Jewish-run mainstream media often push conspiracy theories and mass hysterias(that do far more harm than those peddled by the alt-media).

Maybe the Neocons had a Luck-of-the-Irish moment with 9/11 as a godsend to their grand plan, but scenario (2) seems far more likely. There's no doubt Muslim actors were involved, but they seem to have been unwittingly orchestrated. There were many ways Jews could have done this. Some Jews could have posed as radical Muslims and goaded real Muslims toward violence. It's like the FBI uses 'informants' and agent-provocateurs to encourage certain groups to do nutty stuff, all the better to hype the threat posed by 'extremism', further expanding FBI's reach and its good graces with the all-powerful Jews. Also, Jews have posed as Neo-Nazi leaders and led dimwit white-supremacist loser types to make sorry spectacles of themselves, leading to more donations to groups like SPLC and ADL. Frank Collins was really Frank Cohen, a Jewish child-molester. Furthermore, as the Israel-ISIS alliance has shown, Jews and radical Muslims have found ways to work together. Jews are nothing if not two-faced. Jews could have both encouraged radical Sunni Muslims to strike out at their enemies(be they secular modernizers like Assad of Syria, Shia-ruling elites of Iran, or US as great Satan) AND expressed outrage at those attacks, demanding that something be done about Muslim Terrorism. But then, the so-called War on Terror, for the most part, didn't target radical Muslim terrorists but secular Arab nations. For Jews, ANY kind of Muslim terrorist violence is useful because most people in the West can't tell an Arab from a Persian, a secular Arab or Christian Arab from a Muslim Arab, or Sunni from a Shia. So, if Jews encourage one bunch of Muslims to carry out violence, they can blame it on whomever they choose in the Middle East and North Africa. Have Saudi terrorists attack the US and then make Americans support war on Iraq ruled by secular Hussein. What do Americans know or care? They are all Ay-Rabs, a bunch of camel jockeys in Chuck Norris movies.

Now, Jews masquerading as hardline Muslims goading other Muslims to carry out terrorism would be a case of direct Jewish involvement in the plot. But Jews could have done it indirectly as well, and this indirect approach was surely more important. In a windless sea, sails are useless. But where there are lots of wind, one can use the sails to harness the winds and so far. And Jews knew there was a lot of rage, anger, frustration, and bitterness in the Muslim World. The question was how to channel and guide those feelings toward the West. That way, Muslims would carry out the terrorism while the gloved Jewish Hand would remain invisible. Jews don't need to get their hands dirty in direct action if they can harness and direct the rage that is already there. Take Antifa and BLM. Most Antifa losers aren't Jewish, though there are Jewish handlers. And BLM is mostly black thugs. What matters is Jews know there's a good deal of demento-radical white rage and black rage. They are always there, just beneath the surface. When useful, as in 2020, Jews could unleash and encourage such rage by using the media to hype certain 'social justice' issues(like about George Fentanyl Floyd) and ordering the police & courts to be lenient with black thugs and white radicals. And there may have been some dirty tricks involved in Jan. 6 event as well. Darren Beattie and Tucker Carlson raised questions as to whether FBI used agents and informants to encourage violence among the protesters, making it all the easier for the Democrats to label the protests an 'insurrection'. And of course, the Democratic Party is just a puppet show of the Jews.

Consider the game of curling: https://infogalactic.com/info/Curling

The stone follows a certain trajectory but the players use brooms to subtly alter its speed and direction. It's most likely the Jews 'curled' Muslim rage toward certain targets in America. And only a handful of Jews need to have been involved in key places. The thing was to guide the Muslims into attacking NY & DC and then to ease US defenses against foreign threats. It suggests the operation began under Billy Boy Clinton and came to fruition under Bush II(and would have happened with Gore-as-president as well). While certain intelligence officers did notice odd movements of Muslims in the US, those at the top refused or 'failed' to connect the dots. Indeed, the politicization of national security can be seen in domestic politics. When Jan 6. happened, the government took swift action, rounded up the trespassers, erected forbidding fences and barriers, and stationed tens of thousands of troops in the Capitol. But when BLM riots were raging in the summer, the government and the military did precious little. They were out to make Donald Trump look bad as a coward hiding in the bunker. If anything, the officials painted BLM slogans all over DC streets even as the thugs went on burning, looting, and attacking people. The military refused to take action to defend cities from the mob(and even blue city bourgeoisie tolerated the mayhem just to hurt Trump and keep blacks in the Democratic corner). All across America, the state did almost nothing to protect property from BLM and Antifa mobs who were called 'mostly peaceful protesters' by the Jew-run media working in cahoots with the Deep State and its thug-goons.
Contrast that to state and media reaction to the Charlottesville Protest by the Alt Right. Though Alt Right acted in accordance to the law, the state used emergency power to shut down the event with brute police force. If anything, the police drove the Alt Right guys into Antifa mobs who far outnumbered Richard Spencer and his gang. And the media spun the whole event as 'Nazis got violent'. So, law-and-order and matters of security are totally politicized. If this is true in regards to US citizens, then it's surely the case with foreign entities as well. To ensure that 9/11 attacks would happen, key Jews in the deep state most likely goaded others to lower the guard or focus on other matters as distraction. National Security has come to be a toy of Jews. Currently, Texas borders are being inundated by illegal invaders, but the Jewish-controlled Biden administration does NOTHING; if anything, the Jews are doing everything to encourage More Invasion. All this suggests that Jewish Power had all the tricks up its sleeve in 2001 to ensure that the terrorists passed through the obstacles; they had wind behind their backs but didn't know it.
One thing for sure, Israelis and Jewish globalists have been carrying out all sorts of operations in the US, but NOTHING was done about it. It's well understood in the Deep State that if you blow the whistle on nefarious Jewish/Zionist activity, you will be fired or demoted by your superiors who cuck to Jews. So, Jews go on with their activities, and on the occasion they do get caught, they know they'll be bailed out by fellow Jews or cucks who serve Jews and be set free and fly back to Israel to hero's welcome. If Jews can pull off Jeffrey Epstein and Jonathan Pollard, what can't they pull off? They could pull off WMD lies, Russia Collusion Hoax, Mostly Peaceful Protests nonsense, Covid Hysteria, and Election Rigging. The evidence keeps mounting on the nature of Jewish Evil, and in retrospect it shouldn't surprise ANYONE that Jews could have done 9/11. Of course, they didn't dirty their own hands as there were more than enough Muslim dummies who could be played and manipulated.

Muslim killers were easy to find as they're dime-a-dozen in the Middle East. Their counterpart in the West are white Christian soldiers in the US military. What do Muslim Jihadists and white Christian Soldiers have in common? They are relatively dim and stupid. Unable to win success with wit and intelligence, they cling to guns or lob bombs. So, there are always lots of dumb Muslims and dumb Christians for Jews to play with. Jihadists vs Crusaders, with Jews as the only winners. Have goyim fight goyim. Goad Muslims into attacking the West, and then goad white Christians to fight War of the Worlds, and then, bring over Muslim 'refugees' to the West and tell them that 'Liberal' Jews are their friends against those 'Islamophobic' white supremacist Christ-tards. In this sense, there isn't much difference between the idiot Muslim terrorist and the idiot Christian soldier-imperialist. Especially as white goy elites now cuck to Jews, white soldiers are essentially tools of Zion. As for the Saudi connection in the 9/11 attacks, Jews probably wanted it this way. Saudi elites were unwittingly encouraged to fund Saudi operatives in the West. They probably didn't know they were funding terrorists targeting the US. And when 9/11 happened, Saudi Arabia had no choice but to be 100% onboard with supporting the US because the hijackers were mostly of Saudi origin and even received money from the Royals. It was the ONLY WaY Saudi elites could prove their 'innocence'. Indeed, how ironic that Saudis, though so often accused of having harbored and funded the terrorists of 9/11, have been the closest allies of the US and Israel in the so-called 'War on Terror'. It's so surreal.

"Muslims did 9/11" is like "Hornets attacked your house". Suppose there's a hornet's nest far removed from your house. So, hornets hardly pose a threat to you and your family. But suppose I live closer to the nest and want it destroyed, especially as I messed with it a bunch of times. But I don't want to get stung and hurt. So, I goad one of your kids to throw a stone at the nest while I run inside my house. Angry, the hornets attack your kid and follow him to your house and and then attack your family, which is unawares that the hornets had been roused. Then, I call you up and say, "You see, them hornets are really nasty, and something must be done about them", and I insist it's a matter of your pride and dignity to fight this War on Hornets. So, while the hornets are destroyed(and you get stung badly in the destruction), I look outside my window at the melee from and laugh.
The thing is the Muslim hornets wouldn't have been a threat to anyone outside the Middle East and North Africa if they hadn't been provoked so often by the US under Jewish pressure. Ultimately, however, the problem was less that Jews played with dumb Muslims than they played with idiot whites. Whatever Jews did to encourage Muslims to attack the West, they certainly succeeded much more in making the West mess with the Arab/Muslim World, thereby convincing plenty of young Arab/Muslim men that it'd be glorious to join the Jihad.

Jews know the trick is not so much in doing something as making the other side doing something. It's like the game of chess. You move your pieces to elicit responses from the opponent. You lure him into making a big bold move that proves fatal. You set the trap and wait for the opponent to fall into it. So, Jews never needed to do 9/11 directly. They only needed move certain pieces and to set the trap and let Muslims make the bold move, only to be checkmated in turn. The fact that Israeli operatives were closely tracking the Muslim terrorists suggests they weren't so much on their trail but removing the obstacles in their path. Thus, Jews were leading than following the terrorists(who, being dumb, didn't know the mission was being made easier for them by Jews who were setting a trap). Whatever really happened with the assassinations of JFK and RFK, it's more than possible and even plausible that a lone killer did it. Any determined person can kill someone important. But because 9/11 plot was so elaborate and involved multiple actors, it's hard to believe it went so undetected and was fulfilled to near-perfection.

Within Jewish Power, they could be the dark-cabal alongside the light-cabal. While the light cabal also works for Jewish Power, it doesn't have the stomach and balls to think up something like 9/11. But, when push comes to shove and were such an event take place, the light-cabal will go along with the dark-cabal. It's like how Michael keeps Tom Hagen out of certain affairs in THE GODFATHER movies. Michael senses Hagen is more a 'business' type, rational and cautious, moderate by gangster standards. He's not a wartime consiglieri. And so, Hagen has to be kept out of certain plans. Likewise, there could be a cabal within the cabal among Jews. The dark cabal. It is made up of ultra-Zionists who are willing to do ANYTHING to get their way, and they have no qualms about the what or the how. 9/11 was likely hatched by the dark cabal, but once it was done, the light cabal may have felt a bit sick and queasy but believed it had no choice but to go along as, all said and done, it too is about Jewish Power uber alles. It's like the National Socialists had moderates and the radicals. Though the moderates didn't want war and genocide, they went along when the radicals pushed events to the breaking point. And of course, when Tom Hagen is finally told of what's what, he goes along.

The light cabal Jews are probably anxious and even frightened of the dark cabal. But, they go along because they are all part of the Tribe. Also, the dark cabal has the boldness that the light cabal lacks. It's like the 'good respectable Jew' in CRIMES AND MISDEMEANORS relies on the 'bad gangster Jew' to do what's gotta be done. Also, as the fate of the light cabal and dark cabal are so closely entwined, there is no way the light cabal can survive if the dark cabal falls. It's like moderate Nazis had to support the dark Nazis. It's like Henry Hill, though moderate by mafia standards, must play along with the darker figures of Jimmy and Tommy in GOODFELLAS. Though less psychotic, he too is part of the crew. And light cabal Jews have relied too much on dark cabal Jews over the years. They've been joined at the hip. So, even though Neo-Lib Jews will make some noises about bad boy Neocon behavior, they will never expose the full extent of Neocon nuttery. It's like Paulie admits Tommy is a bad kid but takes umbrage(from a civilian) at the notion that he be killed.

In the past, Woody Allen had a tendency to present Jews as harmless schlemiels while hoodlum killers were Italians, but in CRIMES AND MISDEMEANORS and CAFE SOCIETY, he showed the dark underbelly of Jewish Power. Neocons, ex-Trotskyites who act like gangsters, are the Tough Jews of the Cabal. And people like Jennifer Rubin are Jewish molls.

According to Jewish Moral Logic, Good White People should shun and shame any white person who mutters, "It's Okay to be White", but Good Jews must close ranks with Rogue Jews who dare pull something like 9/11, along with BLM riots, election rigging, Covid hysteria, and New Cold Wars with whatever nation in the cross-hairs of Jews at the moment. George Soros is obviously a total scumbag, and so is Paul Singer, but they got the backs of so-called Good Jews. Indeed, a so-called Liberal Jew is more likely to cover for the late Sheldon Adelson who said Iran should be nuked than a white guy, libby or conzo, is likely to do anything for a fellow white guy in need.
One thing for sure, the quality of any discourse relies on what is allowed to be questioned. If certain questions are off the table, entire areas remain 'redacted' and out-of-reach. It's like the true history of Maoism cannot be known in China because certain questions about Mao are not allowed. Even critics of Maoism must begin with the premise that Mao was a great man, a godlike figure. Therefore, while aspects of his rule can be addressed critically, fundamental questions about Maoism cannot be questioned. In the West, Jews not only control the gods but are worshiped as gods, and that means certain questions about Jewish Power and Jewish Evil cannot be questioned. Indeed, while goyim can be thought of as good or evil, Jews must only be thought of as good. While Jews will concede there are bad individual Jews, Jews as a people or a power can never ever be evil. But, one could say Germans, Iranians, Russians, or Chinese as a people can be evil. As for whites, it's now controversial to argue that they can be good as a people. No, according to Jews, whites can be good as individuals but never as a people. 'Whiteness' itself is deemed an evil notion, and whites as a collective must atone for their special crimes against humanity... mainly by cucking to Jewish supremacism and carrying out the orders of Jewish gangsters. In a perverse twist of fate, white redemption comes by way of blind obedience to Jewish supremacist evil. In the West, we can't raise questions about possible Jewish Evil, and we can't ponder if whites, as a collective, have been a force of good for humanity. Given these rules, the most important questions about 9/11 cannot be questioned in the West, no more than Chinese can ask honest questions about Maoism and its impact on national history. But, those in the alternative media spaces should ask those questions.

Now, there are two crucial questions as to how 9/11 could have been pulled off by Jewish Power. (1) What kind of people would have been capable of doing such a thing? (2) Who would have been the key players?

(1) has to do with personal character. Surely, most people wouldn't have the stomach to do something that extreme, indeed evil. And this goes for most Jews as well. An average Jew, if asked to take part in such a plot, would have been shocked and outraged. This is why the Nazis hid the truth about the Shoah from most Germans. Whatever most Germans felt about Jews, they didn't want mass murder. And yet, there were radical-willed Germans willing to carry it out. And there were many who followed orders. The radical Germans, like Heinrich Himmler, were true believers. They were 100% committed to the racial ideology of Aryan supremacy and domination; they were 100% sure that Jews were the enemy and had to be dealt with in some radical manner. They were as committed to Nazism as the Jesuits to Catholicism. They were fanatics. And the SS trained men to be hardline, ruthless, and unquestioning. It was a matter not only of power and loyalty but spirituality. They were indoctrinated to believe in the purity and holiness of their cause. Then, there were other Germans who were less radical and extreme but prone to follow orders and/or didn't have much of a choice. The likes of Adolph Eichmann and Albert Speer wouldn't have cooked up mass slaughter of peoples on their own but, once the game was on, felt it was their duty to play along.
It is hardly far-fetched to assume that an ideology akin to National Socialism has existed among Jews and, if anything, became even more radicalized with vengeful emotions about the Holocaust, the ultra-nationalist pride in the Zionist enterprise, and the hubris of having ousted the seemingly invincible Anglos from the top perch in the US, the lone superpower. If, over the years, white goy parents were raising their kids to be more deracinated, atomized, and self-critical(or even self-loathing), not least due to Jewish-controlled media and academia, Jewish parents and community were raising Jewish kids to be ever more tribal, race-conscious, resentful, proud, and even arrogant & contemptuous toward goyim: Whites, Christians, Russians, Arabs, Palestinians, Iranians, Muslims, and etc. And to be more demanding and intolerant. While not all Jews were raised this way, enough ended up with a mindset not unlike the Jewish version of the Nazi SS. A strange and perverse combination of extreme victimhood and boundless victor-hood. "No people suffered so much and for so long as we Jews, and the whole antisemitic world owes us, oh boo hoo hoo", and "We Jews deserve to rule because we are the smartest, pushiest, chutzpahiest, and holiest. We got big brains, big balls, lotsa matso cunning, and the Covenant." Such a mindset is bound to create a subset of Jews who are capable of doing ANYTHING for Jewish Power. Also, in such a culture, bigger-balled Jews get grudging respect from lesser-balled Jews who, though queasy about certain big-balled Jewish behavior, are also in awe. It's the politics of balls or ballitics.

It's like the mindset of the Italian-American community in GOODFELLAS. There's a combination of tribal victimhood — "We Italians have to look out for one another because the system is rigged by the Anglos and Jews" — and pride of manhood expressed through criminality, usually directed towards non-Italians. In GOODFELLAS, there are four kinds of personalities, and this applies to Jewish Power as well: Super-big-balled, big-balled, gonadic, and shrimp-beady. Jimmy Conway and Tommy are super-big-balled. If they want something, they'll take it. They'll do anything anyhow to get whatever they want. Henry isn't super-big-balled and on his own wouldn't have done half the things he did alongside Jimmy and Tommy as ringleaders. Then, there are other hoodlums who are, at best, gonadic. Without tougher gangsters around, it's likely they wouldn't even have entered the life of crime. They are in that world as hangers-on, flunkies, and vultures. They are out for the crumbs, like the fat guy who bought a Cadillac for his wife soon after the Lufthanse Heist.

Then, there are the shrimp-beady. These types aren't criminals but do nothing to stand up against crime and, if anything, do favors for criminals when asked and if there's a piece in it for themselves. It's like Jimmy has plenty of civilian accomplices in distributing stolen loot. The gangsters got the balls and are looked up with both fear and respect(even awe) by the community. And plenty of Italian-Americans love the hoodlums in THE SOPRANOS. In a way, the Italian-American community is like a vulgar cartoon version of the Jewish community. Jews, being smarter, are savvier and more sophisticated in their ways. (Whereas most Italians who came to the US were bottom of the barrel, many Jewish immigrants were better educated on average than most Europeans.) Still, the balls-size factor is big among Jews as well. Jewish kids idolized tough Jewish gangsters. Jews admire tribesmen with chutzpah. Indeed, Jews tend to be far more offended by Nice Jews than by Nasty Jews, and this goes for both Jewish 'liberals' and 'conservatives'. Indeed, one reason why Jonathan Rosenbaum favors Elaine May over Mike Nichols is he believes May remained uncompromisingly Jewish whereas Mike Nichols too often played it safe, as if he was too afraid to rock the boat in the WASP world.

And consider the prominence of such Jews as Pauline Kael, Bob Dylan, Andrea Dworkin, Ayn Rand, Alan Dershowitz, Bill Maher, Howard Stern, Sarah Silverman, Rob Reiner, and the list goes on. A Jew accused of being 'nice' by fellow Jews is like a Negro being called an 'oreo' by fellow blacks. It's not just about the brains(as among Asians) but the balls. And it doesn't matter how ludicrous or outlandish Jewish big-balled behavior is. Indeed, more outlandish the better as it means the balls are truly big. Barbra Streisand as sex symbol? Outrageous, but she had the balls to insist she is hot stuff. Woody Allen made himself the romantic lead in his movies as well. Bob Dylan as a rock star? No way, but he made it happen. Andrea Dworkin a victim of sexual assault or the face of feminism? But she gained notoriety, not always a bad thing among Jews. Jewish big-balls antics would have been ludicrous but for the fact of their wit and humor to make it seem halfway feasible. Streisand's shtick wouldn't have worked without her talent as comedienne. And Dylan-as-star wouldn't have worked without genuine musical imagination and lyrical talent. And we forget the ridiculousness of Woody Allen as romantic lead because he makes us laugh.

So, what you have among Jews is the pride of identity, hostility & resentment toward others(for reasons of historical revenge, spirituality of chosen-ness, and contempt), and hubris of being the rulers of the lone superpower. It is a recipe for a perverse kind of supremacism. One that isn't only racially supremacist but morally self-righteous. A pathological combination of victimology and victorology, and indeed they feed one another because the greater one's self-esteem, greater one's sense of aggrievement. It's like blacks feel so oppressed because they see themselves as superior(especially in sports and fighting) and find it intolerable that slow wussy whitey have more than they do. Precisely because Jews regard themselves as so superior, they find antisemitism especially intolerable because it's about inferior goyim pushing superior Jews around. This is why the cult of Shoah is really tribal supremacism wrapped in rhetoric of anti-supremacism. Ostensibly, it's a warning against what supremacism can do: The Aryan persecution and mass killing of Jews. But, Jewish rage is really about how they, the real superior race, was targeted by thick-skulled Germans.
Granted, there is more to Jewish Consciousness, making their hostility even more problematic. Jews are fiercely competitive, and while they feel confident in their mental edge, they are deeply resentful that blacks beat them in sports and whites beat them in looks. So, Jews feel they must own and control blacks as athletes and music stars. Blacks are like horses in their stable, like the one owned by the Jewish Hollywood mogul Woltz in THE GODFATHER. Even as Jews resent blacks, they also flatter them as fellow victims of whites because Jewish Power really depends on white submission. To reinforce 'white guilt' that paralyzes white pride and agency, Jews elevate blacks as sacred victims. Also, by flattering blacks so profusely and giving them lots of money, Jews hope that blacks will overlook the fact that Jews played a key role in Western Imperialism and the slave trade. That Jews are resentful of white beauty is evident in their portnoic lusts for blonde shikses and in their promotion of jungle fever, whereby white beauty is destroyed by mixing with black genes, resulting in white mothers giving births to simian-looking babies. Jews are not only supremacist in their intellectual arrogance and contempt but feverish with inferiority-complex when it comes to athleticism and beauty. It's all a recipe for a kind of political psychosis.

While high intelligence is rather common among Jews, not all Jews got big balls. Some Jews are merely gonadic while some are shrimp-beady when it comes to ball size. So, naturally, they look to big-balled Jews. Big-balled Jews may be crazy at times, but they get things done. They create new spaces for other Jews to operate in. After all, intelligence without balls is like Japanese-Americans. Pretty smart and successful people but ZERO when it comes to tribal power.

Given the essence of the Jewish mindset, it's hardly surprising that the Jewish Community would produce a number of people with the combination of victimological self-righteousness, god complex, philosophical certitude, ruthless gangsterism, and con-man cunning. But then, Bolshevik Jews had attributes of both ideological purists and murderous gangsters. So, among Jews, there are certainly plenty of people with the character traits necessary to plan and execute something as crazy as 9/11. Such Jews are capable of ANYTHING for the Tribe. The ones with the biggest balls would have conceived of it, and those with lesser balls would have gone along, if only out of deference to Big Balls.

The dark recesses of power in any system scour for and recruit people with certain character traits. They aren't looking for mere intelligence and talent. After all, many smart people are moral, upright, and decent... or timid and anxious. They may have the aptitude necessary to work for elite intelligence services but not the requisite flexibility bordering on venality to toss principles to the winds and play dirty when necessary. CIA and even the FBI scout for respectable members of society who are capable of doing the most unrespectable things, ones so dirty that they must be kept secret. Now, the system may justify such actions on grounds that (1) it is an exceptional force for good in the world, and therefore, any means at its disposable are justifiable, or the ends of globalism justify all its means. The Deep State certainly felt this way about the Russia Collusion Hoax. It knew the whole thing was a lie but, as it was aimed against lowlife populist demagogue Donald Trump who denounced globalism, any means were deemed necessary to bring down the Bad Orange Man. Or the system may justify such actions on the basis that (2) the other side plays just as dirty or even worse. During the Cold War, many decent people thought they should tolerate the dirty tricks of the CIA because the KGB was even worse. So, if the CIA used dirty means to depose certain regimes, it was unfortunate but necessary because the Soviets might extend their influence and install their puppets or clients, like Fidel Castro. It's the logic behind the movie MUNICH by Steven Spielberg and Tony Kushner, i.e. "Sure, the Israelis do terrible things, BUT the Arabs started it!" — never mind the Zionists displaced the Palestinians. The end result is organizations like the CIA manned by people with respectable credentials but who act like ruthless, venal, psychopathic gangsters. Or, perhaps those in the game of power become so wrapped up in the game of winning and losing that it's no longer about right-and-wrong than us-and-them.

Still, there is a difference between quasi-gangster organizations like the CIA & FBI and Jewish Power. CIA, FBI, and NSA are about national security, and 'national' is a rather vague term, especially in a multi-racial and multi-ethnic country like the US. What exactly is meant by 'American'? When US was ruled by Anglo-Americans, national interest/security was defined by the WASPS. When Jews took over as the new elites, there was a new set of national interests. If Hindu-Americans were to take power in the US, they would get to define the nature of 'national interests'. In other words, 'national interests' are always mutable in a multi-racial society. In contrast, Jewish Power was, is, and shall always be about Jews, the Tribe. Not only are Jews prominently embedded in all departments of the Deep State committed to 'national interests', Jews are allowed to operate as JEWS in the name of JEWISH and ZIONIST interests on American soil. No politician or operative in the US will be censured, demoted, or fired for saying Jewish interests and Zionism are as important to him or her as American Interests, which is another way of saying "American Interests = Serving Jewish Power". Rudolf Hess once said, "Hitler is Germany, Germany is Hitler." The American motto might as well be, "Israel is US, US is Israel" or "Jews are America, America is Jews."

So, we can pretty much agree that the Jewish Community has the attitude, culture, and agenda that could produce, shelter, supply, and protect the kind of people who could have plotted 9/11, just like the Italian-American community produced the kind of people who carried out the Lufthanse Heist in GOODFELLAS. Such types would have been harder to find in the Swedish-American community(though also involved was Morrie the Jew).

Now, what would have been necessary to carry out the plot. Basically, Muslims had to hit NY and DC. Finding crazy Muslims wouldn't have been difficult as there was plenty of Muslims willing to blow stuff up, themselves too in the bargain. The challenge was making the Muslims do it in the US and in spectacular fashion. The basement bombing of the WTC in the early 90s and overseas bombing of US embassies were proof that such weren't sufficient to persuade most Americans into supporting War on Terror, aka Wars for Israel. No, something spectacular had to be done, one that topped Pearl Harbor in sheer fireworks. A hit on NY would garner much sympathy for Jews especially as New York is Jew York. A hit on Washington, especially the Pentagon building, would have made the attack military as well as commercial in character, i.e. even anti-globalists who didn't care about dead globalist New Yorkers would have been outraged as patriots by what had been done to the Pentagon, the center of US military command. Also, as the Jews had long wanted to get rid of the World Trade Center that stood as an asbestos-filled White Elephant, what better way than by having Muslims blow it up? It'd be like killing two birds with one stone.

But how would the Jews get the Muslims over to the US to carry out such an outrageous plan? Even with laxer security than usual, a plot that big would have been detected by numerous agents in the intelligence agencies. This is where Jews had to play the role of the leads. As the Muslim terrorists were under close surveillance by the Jews, Jews knew their every move. So, whatever the Muslims planned to do, Jews got there earlier and cleared the way for the Muslims. So, if Muslims planned to enter through A, Jews got there first and distracted people in A while the Muslims slipped in. Thus, not only Americans but Muslims got played, much like the woman in David Mamet's HOUSE OF GAMES. Or like Warren Beatty's character in PARALLAX VIEW. The player gets played.

Once the way was cleared for Muslims, how could Jews rely on those amateurs to really pull it off? After all, we were told they had only the most basic knowledge of flying an airplane. What if Jews hid poison gas in the cockpit? The pilots would have been taken out, and then suppose the planes were operated by remote control toward the World Trade Centers? So, maybe it wasn't so much the Muslims who flew the planes. The planes could have been operated via remote control by aerial experts working in the Israeli government. The notion that amateur-pilot Muslims swooped down and hit the Pentagon building is even harder to believe.
Furthermore, could Jews be sure that the Twin Towers would fall if hit by planes? Perhaps. Even though the buildings were reinforced with lots of steel, airplanes of that size flying at that speed were bound to cause severe damage. A ping pong ball thrown at someone's head hardly does anything but at sufficient speed can make the head explode. Still, Jews couldn't have been sure that the buildings would fall. The Dancing Israelis are sure sign that Jews had fore-knowledge of events. That means they had to make sure that the buildings would fall if the planes failed to do the job. Could Jews have planted the structure with explosives beforehand? Or right after the crashes? The fall of Building 7 makes it all the more suspicious.

As spectacular as 9/11 was(and even though it involved many more operatives than a lone actor, such as Lee Harvey Oswald or Sirhan Sirhan), it was nowhere as complex as Japan's attack on Pearl Harbor. The Japanese attack had to be a major naval operation. In contrast, 9/11 required only just enough people to hit two buildings in NY and one in DC. Thus, Jews could get a real bang for the buck by slipping in a bunch of Muslims to carry out the attacks. Of course, it would have been more complicated for Jews IF the Muslims weren't really capable of flying the planes into buildings, in which case, Muslims were boarded on the planes that were really operated by remote control once the pilots were incapacitated with poison gas or some sleeping agent.

Now, surely there are many people in government who suspect the Jewish Hand in all this. Why have they remained silent? Initially, it was because they all got excited and joined in the War on Terror. Thus, they too became complicit in the History as written by Jews. Another reason could be the 'failure of imagination'. It's been said US intelligence failed to imagine that Muslims could do such a thing. Yet, if imagination was tragically in short supply when it came to Muslim craziness, why can't the same be said of Jewish craziness? Why must our imagination be limited to Arab/Muslim evil but not Jewish Evil? Perhaps, the real failure of imagination about 9/11 has been the refusal to ponder the Jewish role.

Of course, in a nation where Jews control the deep state, media, academia, think tanks, and politicians(many of whom can be blackmailed like Senator Geary in THE GODFATHER PART 2), anyone who mentions the Jews will immediately be targeted and destroyed. Take the Code of Silence about Russian Collusion Hoax even though surely everyone in the Deep State knew it was total fake and orchestrated by Jews and their cuck-puppets. Besides, even if Jews did 9/11, the deep state had a great run with more funds, more wars, and more global power games. When push comes to shove, those in the deep state aren't interested in justice or truth but in the power game. And as long as they get to play, they don't care for what or for whom.

Was 9/11 an Inside Job or Mossad Job?

That question would have been valid sometime in the past, but has it ever mattered in the 21st century when US essentially became USrael? There was once a time in America when it seemed like Jonathan Pollard would never see the light of day. The mere thought of him being released and being sent back to Israel seemed farfetched. But not only did it happen but there was no pushback from anywhere in US government, military, intelligence services, or the media. Also, one would think Israel would be somewhat muted in its gleeful reception of Pollard, but no, it was brazen and boastful before the whole world, flicking a middle finger to America with full confidence that Uncle Sam would not only take the insult but bend over to have the finger stuck up its ass and then beg to lick the finger once it was pulled out. How long before the US government officially apologizes for having convicted Pollard?

There was once a time when US and Israel were separate entities. Jews had power and influence but couldn't do as they pleased. Israel got special favors but couldn't force America's hand. But already by 1967, US bent over backwards to cover up the USS Liberty incident. Did white American elites hope that Jews would be kinder and more appreciative if the US went out of its way to be forgiving toward Israel? Or were Jews already sufficiently powerful already by the 1960s to dictate policy? Perhaps, the turning point was the creation of the Fed when Jews gained financial domination in the US. But it took the remainder of the 20th century for Jews to take total power. FDR hired Jews in key positions, but his administration didn't always do as they hoped.

Of course, many have noted parallels between Pearl Harbor and 9/11. Jews wanted US involvement in WWII against Nazi Germany. Later, they wanted US involvement in so-called World War IV, aka the 'clash of civilizations' with the Arab/Muslim world in the vicinity of Israel. In both cases, Jews pulled all the stops to drag US into war. But many Jews felt FDR didn't do enough in the defeat of Germany. US dragged its feet when German forces were mostly being demolished by the Soviets. But that meant more time for Germans to round up and kill Jews.

Perhaps, Jews felt most vulnerable after WWII. In a way, the great victory over 'fascism'(regarded as the enemy of Jews) opened the way for anti-Jewish elements in the US. With Japan and Germany now as puppet satellites of the US, the main enemy became the Soviet Union. While most Jews were not communist, even anti-communists among them took pride in Jewish Bolshevik triumph over reactionary 'antisemitic' Russians. They regarded Bolshevism as Jewish rule over dimwit Slavs. Of course, it would have been even sweeter had Leon Trotsky come out on top, but Josef Stalin was good enough... except during the short period of the Ribbentrop-Molotov Pact. Though some top Jews were purged under Stalin, Jewish power then was greater in the USSR than in the US. And even though most Jews weren't pro-communist, many elite Jews had radical leanings.

During the pro-Soviet FDR era and WWII(with the 'far right' as the main enemy), radical Jews had a place in American politics and culture. But with the onset of the Cold War, Jewish Leftists came under suspicion and scrutiny, not least because so many spies and fellow-travelers in service to Stalin were Jewish. It was a time when Jews slipped the biggest topper-most secret, the formula for the Atomic Bomb, to the USSR. Also, what with China falling to communism and the outbreak of the Korean War, the Cold War with the Red was really on. Jews felt most vulnerable at this time. For leftist Jews, the anxiety and fears were obvious. But even anti-communist Jews were angry for tribal reasons. When push came to shove, they chose to side with their radical tribal brethren than with filthy goyim. And so, once Joe McCarthy fell from grace and the Zeitgeist changed, Jews used the power of media, academia, and entertainment to push the Narrative about how freedom of conscience and civil liberties had been endangered by evil Joe McCarthy and the 'paranoid' and 'authoritarian' style of right-wing American politics.

Back then, ACLU and other Jewish-funded organizations pretended to defend liberty from repression when the real motivating factor was circling the wagons for Jewish Power. And once the anti-communist Injuns were fended off, the Jewish cowboys and posse rode off after them and picked them off one by one, almost entirely wiping them off the map of political discourse. (Of course, Jews today are totally in paranoid mode — 'Russian Collusion' Hysteria has been 100x crazier than anything proposed by HUAC and Joe McCarthy, whom history has vindicated to be more right than wrong — and authoritarian mode, using Antifa and BLM thugs to beat up American patriots, using FBI & other deep state goons to railroad & frame MAGA people, and spreading pandemic pandemonium to scaremonger everyone into compliance with the Covidian regimen. ACLU now says the state has the right to force anyone to get the 'vaccine'.)

Even before Jews attained direct political power over institutions, they gained psychological sway over the discourse by using their reach of media and academia to mold elite minds and public attitudes. Jews disseminated certain taboos, and of course, taboos, once having taken root, have a self-reinforcing mechanism that virtually suppresses certain expressions. The Narrative on the so-called Red Scare was such that it became bad form in elite circles to mention the villainy of the Rosenbergs or to argue that HUAC & McCarthy, though overreaching and unscrupulous at times, were right about the Soviet threat and the infiltration of US institutions and industries by anti-American radical elements. Any defense of HUAC and McCarthy was tantamount to championing American Fascism. (As for Jewish support of FDR's regime that dispossessed and 'interned' over 100,000 Japanese/Americans, never mind. And never mind so many Jewish leftists and liberals had rosy views of Stalin's Russia, the most totalitarian state ever created in the modern era.)

Simultaneously, Jews squeezed the Holocaust for all its worth. Anne Frank had already been made a household name. And even though explicit movies about the horrors of the Holocaust were yet to come, it was understood that Germans of WWII were especially sinister. They weren't merely the enemy but the Evil Enemy whose crimes were beyond the pale. Because Nazis were so evil in hating Jews, 'antisemitism' was made into the great sin of the West. As Jews were sacralized, any expression perceived as offensive to Jews must be bad stuff. It didn't matter that Joe McCarthy went out of his way to burnish his philosemitic credentials, much like Donald Trump did. What mattered to Jews was that his anti-communist crusade negatively affected a lot of Jews who fell into the Red Scare dragnet.

In a way, Jews were quite perceptive in their paranoia and hysterics. Jews believed that defense of leftism would be good for Jews(despite the communist world's growing antipathy toward Zionism) because the Right was the bastion of Christianity, white hierarchy, traditional distrust(of Jews), and anti-radicalism. Even though leftism and Jewish interests often collided, radicalism had a disruptive and corrosive impact on the status quo and existing hierarchies. So, even though most Jews in the US didn't want communism(and even detested it), they figured they would gain more power by supporting the Left against the Right. (And also by manipulating the Right by doting on the likes of William F. Buckley the Cuckley who increasingly purged his ranks of anything deemed offensive to Jews, beginning with the internecine war against the John Birch Society and culminating in the dismissal of Joseph Sobran who was cast into the wilderness to appease Neocons. Buckley became the televised faced of the American Right not least due to his philosemitism.)

But, the most effective for Jews wasn't their weaponization of leftist ideology but the planting of taboos in the discourse about the Red Scare era. In other words, Liberal or Generic Anti-Communism was acceptable but not the kind of anti-leftism related to Joe McCarthy that led to the purging of Jews in various positions. One could badmouth Stalin, Mao, or Castro; one could denounce commies around the world, but it was sudden death, disgrace, and exile for anyone(at least in respectable society with most of the power and prestige) who dared to say Joe McCarthy was more right than wrong and that the Red Scare era really did expose a bunch of traitors, a good number of them Jewish.
At the very least, Jews could be assured that Liberal or generic Anti-Communism would not dare associate Jewish Power with radical subversion, whereas the stronger Right Anti-Communism had a tradition of doing just that. Though William F. Buckley was part of the American Right and came to prominence as a defender of Joe McCarthy, his brand of anti-communism eventually became hardly distinguishable from the Liberal kind, i.e. communism was bad not so much as anathema to the stalwart icons and principles of the Right but because it endangered the Liberal Values of the West. Over time, Liberal Anti-Communism became the position of American Conservatism as well. Ronald Reagan's anti-communism was all about 'muh liberty' and 'Save Soviet Jews'.

At any rate, the sheer Jewish media hysteria about Joe McCarthy made it worse to be anti-communist than pro-communist in elite circles of media and academia. (The military was about the only exception, though these days, the worst thing you can do in the military is to say "It's Okay to be White.") After all, the communist Hollywood Ten came to be lionized as defenders of civil liberty, freedom of conscience, personal courage, self-sacrifice, and noble victimhood. They were the tragically persecuted, the true patriots. In contrast, McCarthy came to be depicted as the worst man in the 20th century after Adolf Hitler.
So, to have supported the Red Scare implied you were of the McCarthyite 'witch hunt' school hardly distinguishable from the nutjob Christian fanatics in Arthur Miller's THE CRUCIBLE. And over time, these elite attitudes spread far and wide through education, public TV, arts & culture, and mass entertainment. Even today, we hear the horror stories of the Hollywood Blacklist. (Never mind Hollywood always had a blacklist. How many pro-German movies did it make in the 1930s? How welcoming is Hollywood of pro-Palestinian writers and directors? Of course, one could argue that the Hollywood Blacklist was problematic because the state exerted muscle on private industry. But these days, Jews in private industry and state institutions have no qualms about pushing for state-capitalist collusion to shut down free speech, rig search engines, have people fired from jobs over ideology, and even to deny financial services to people based on politics. Jewish Power is the biggest hypocrisy. Indeed, notice how Jews use their whore politicians to push for more censorship of internet platforms. It's all so circular. Jewish oligarchs in Big Tech fund the whore politicians and instruct them to pressure Big Tech to clamp down on 'hate speech'. This way, Jew oligarchs can say they were pressured by others to clamp down on free speech.)

The taboo against any kind of anti-leftism that implicated the Jew gave Jewish radicals and subversives great leeway in their cultural power-grab in the Sixties. And to further strengthen the taboos against the Right and the white race in general, Jews used their power to sacralize another people. The blacks. If the Race Issue and Southern Issue were once addressed with some degree of balance — yes, blacks have legitimate grievances in a country that promises freedom and equality but fails to deliver based on 'skin color', but whites in the South also have legitimate concerns because of black racial tendency toward violence and thuggery — , they became totally moralized into a heroes-and-villains narrative with saintly-cool-hip-colorful-wonderful blacks being oppressed by subhuman neanderthal redneck scum. Because of the sacralization of blackness and vilification of white 'racism', it became 'morally' safer to defend the worst black criminal than say anything in nod to white fears and anxieties regarding blackness. Thus, taboos against anti-leftism and anti-blackness had a rhyming effect in favor of taboos against anti-Jewishness. Prior to taboos, both sides could make their case, but with the taboos in place, one side could say everything it wanted while the other side could only stand mute. This explains why, already by 1967, the US government was so paralyzed by the USS Liberty incident. Jews hadn't yet taken total power in the US, but their taboos had already taken effect in the psycho-political sphere. It simply became unacceptable to criticize Israel and the Jews for anything. Why, that'd be 'antisemitic'. Before you take over the man, take over his manners. Take over his emotions before dictating his motions. Fast forward to 2001, and you have Jews possibly pulling 9/11 but NO ONE dares to say anything about it. The total failure of imagination.

Monday, August 30, 2021

What CLOSE ENCOUNTERS OF THE THIRD KIND(dir. Steven Spielberg) tells us about the Trajectory of Jewish American Experience from Leaders of People Power to Hoarders of Elite Power — HoloCovenant as the New Definition of Jewishness

Even though Jews have produced many influential thinkers in the 20th century, we can learn as much or even more about them through their use of popular culture. Granted, some degree of esotericism is necessary to decode the message. In other words, just like adults and children see things differently and laugh for different reasons when watching TV, it's likewise between Jews and Goyim when watching, say, a Steven Spielberg movie. For the goyim, it's just a big thrill ride. To Jews, it's a game of 'wink-wink, nudge-nudge, get it?'

Take CLOSE ENCOUNTERS OF THE THIRD KIND, the only movie that contended with STAR WARS for box office in 1977, the year following the Bicentennial. For most people, it was a grand sci-fi fairytale, like a Disney Movie for adults. And in many ways, the spirit of the movie seemed 'as American as apple pie'. But if ever there was a statement of 'We Jews Shall Inherit the Earth', it's this movie. The movie is at once mainstream-populist and Jewish tribal-elitist. It depends on who is doing the watching with which set of cultural references. A goy might go around saying "Did-you see it?", but for the Jew, it's a case of "Jew see it?" Jew know? It came out in the year of ANNIE HALL that won Best Picture Oscar.

The core source of Jewish Power is the force of prophecy. This potential is latent in all groups but failed to come to full fruition among most. Jews attained it to the furthest degree. (One might say Arabs did too with Islam, but Muhammad mostly copied and revised Jewish prophecies.) In the movie, the space aliens as cosmic power reach out to all humanity. They send signals even to Mexicans(who are mostly drunk), Mongols(in the middle of nowhere), and Hindus(who think Vishnu sang to them). (But apparently not to Negroes, thank Todd.) And among the called are white goyim as well. But the one who is mostly burning-bushed is none other than the Richard Dreyfuss character Roy Neary. Roy is like a Jew-Toy, and he's Neary to God. (As Pinocchio goes from puppet to a real boy, Roy goes from ersatz goy to a true 'Jew'.) So, even though there are two modes to its aura — nationalistic as space aliens choose America among all nations, especially the famed Devil's Tower(though not Mt. Rushmore), and internationalist as space aliens shine their rays and send signals to all peoples of the world — , the real blessing or cosmo-covenant is with Roy who, though not spelled out as JEW, is clearly Jewishy with Dreyfuss's physiognomy and pushy over-the-top performance. Roy stands for Jew as impassioned seeker, climber, and ultimate victor, the heartbreak kid. The two other notable Jewish or Jewishy characters are Lacombe by Francois Truffaut and Laughlin by Bob Balaban. Balaban represents Neo-Talmudism. His expertise is cartography, making and reading of maps, modern version of Jewish numerology. (Upon his realization that the space aliens' signals are coordinates, his colleagues roll a giant globe into a room to pinpoint the whereabouts. It's as if the world is being prepared for Jewish Possession: The World is Ours because the hidden covenantial code can be cracked and revealed only by us Jews.) Truffaut had his own awakening of identity — he grew up thinking he's entirely French but later discovered through a private eye that his father is a Jewish dentist. So, even though the grand ending is ostensibly about space aliens meeting with humanity, it becomes almost like a tribal Bar Mitzvah or Jewish Wedding where space aliens as cosmo-gods choose Jews Uber Alles. It's very much a closed affair, a Closed Encounter as well as a close one.

In preparation for the Encounter, the scientific community, the US government, and the military conspire to keep the public away. One military commander says: "What I need is something so scary it'll clear three hundred square miles of every living Christian soul." Now, there are two ways of making sense of the statement. It's just a figure of speech and has nothing to do with Christians — just scare the population away so that serious people can pull off a diplomatic coup with the aliens, a kind of like Olympics for the scientific community. And yet, even as the movie panders to goy audiences, including lots of Christians, it is indeed about excluding Christians and goyim from the blessed communion between cosmic power and the chosen. Of course, there are plenty of goyim, from top scientist to technician, present at the Encounter, but most serve as background to the Jews who command the center stage; someone even remarks that Albert Einstein wasn't only right but 'probably one of them(the superior aliens)'. Also, on the ground is some piece of metal that looks like a fallen crucifix, as if to imply Christianity is over and to be replaced by the new faith beamed across movie and tv screens dominated by Jews.

There are certain allusions to Jewish culture and history, some more obvious than others, like the broadcast of THE TEN COMMANDMENTS on TV. But some are easy to miss, like the difficulty Roy Neary's son has with fractions in math. For advice, Neary talks about fractions of the number 60. The six figure is likely a reference to the Shoah where supposedly 6 million died. Neary asks his son what one third of 60 is and demonstrates the lesson with a toy train set: One third of the train is exposed on the intersection, so how much would the train have to be moved to avoid a collision with an oncoming train? The son fails to answer fast enough, and the trains collide. It seems Spielberg was suggesting the Jews(and the world) didn't react fast enough in WWII, and many Jews got destroyed. The train itself is of course an allusion to the Shoah as many Jews were sent to the camps on rail.

While Roy and his son discuss fractions, another son in the background stands inside a baby playpen and fiercely attacks a blonde doll, smashing it to pieces. Spielberg uses the kid in child-play to channel his rage at the blond Aryan race. In a way, it sums up the essence of Spielbergism: Jewish Rage masked as child's play. Indeed, the kid's antics seem funny, even cute. Boys will be boys, right? But the scene is also disturbing as the boy keeps smashing the denuded doll until it's head comes off. It anticipates the murder of the nude pro-Palestinian German woman in MUNICH, not to mention all the anti-Nazi bloodbaths in Indiana Jones movies.
No movie director in movie history has been as violent and family-friendly at the same time. The fun-quality of Spielberg's movies(akin to amusement park rides), starting with JAWS(or THE DUEL), makes people forget how aggressive, destructive, and even blood-thirsty they are. Incidentally, the fact that the boy is inside a baby playpen could suggest that the Aryan Race must be snuffed out in the cradle. Or maybe it's a dig at Christianity, a subconscious wish to kill Jesus as baby, fantasy-accomplishment of what Herod failed to do.

Roy insists that the family should go see PINOCCHIO than go for Goofy Golf. Given golf's association with Wasp country clubs, Spielberg could have been suggesting that Jews should focus on taking over the mythic narrative(as Walt Disney did) than waste time with useless recreational activities. Golf is only for the players, whereas entertainment is for everyone. In golf, a player wins over other players, whereas in entertainment the creators of fantasies come to conquer all the souls of the world. They get to mess with the world like space aliens mess with humanity in CLOSE ENCOUNTERS.

Later, there maybe another allusion to the Shoah in the UFO conference. A government official asks just how is it that, what with all the many millions of cameras in the world, not a single irrefutable image of space ships/aliens has been produced? The figures given by the official is that 7 billion photos are taken each year in the US at the cost of 6.6 billion dollars of equipment and processing. Again, we have the figure of the SIX. It could be Spielberg is suggesting that not a single photo of a Jew being gassed by the Nazis exists, but the gassings took place. So, in a way, Roy's pursuit of the truth about UFO could be Spielberg's sublimated obsession about the hidden truths about the Holocaust, and of course, the HoloCovenant is what defines most Jews today.

But the most dramatic allusion to the Jewish Experience is the 'tower' as metaphor for circumcision. After the burning-bush encounter with a space ship, Roy Neary kept envisioning mountain-like figures and turned to crude sculpting to erect the shape of these visions. The result is something like a towering boner, but it's not quite right. Something is a bit off. And then, just when he's frustrated and about to give up, he goes about pulling at the 'tower' mound of his making, and the top comes off, and finally, the vision is complete. It's like the Covenant between Jews is about removal of the foreskin on the penis. That COMPLETES the Jew. Jewishness isn't just about the towering erection of man-meat but the sacrificial offering of the foreskin to God. And then, when Roy watches TV and makes the connection between the circum-tower and Devil's Tower(in Wyoming), he has to go to the American Sinai to realize the fullness of himself as the Chosen, the special one.

The TV is instrumental because it signifies the Jewish control of the Media. Once, the Jewish Book was the source of Western Spiritual and Moral Imagination. Christianity was an outgrowth of Judaism. However, it turned against Jews and made them out to be Christ-killers. One way for Jews to cope with this problem was insularity, but they would always be seen as outsiders, the Other. Another way was to assimilate into the goy world, but (1) it meant loss of rich identity & culture (2) there were sufficient differences between Jews and Whites(or Aryans) that made smooth assimilation impossible. In Germany, even assimilated Jews were targeted as subversive Semites. In the US, whites were happy to welcome and accept Jews as fellow whites, but Jewish supremacism didn't want to become one with sappy bland white culture, and furthermore, Jews became contemptuous of white weakness.

So, the third option was a new universalism, this time controlled by Jews. Marxism had appealed to many Jews as the new universalism that could overcome antisemitism — Karl Marx thought antisemitism would never go away as long as there was capitalism as Jews were the greediest and most compulsive practitioners of it. But as communism came to favor mediocrity and statist stasis over meritocracy and individual enterprise, Jews came to see it as chain-and-ball around their legs.

In the US, Jews favored Marx-Brothersism over Marxism. Make the goy laugh. Make the goy laugh so hard at Jewish wit and humor that they will see Jews as entertaining and endearing(even though much of Jewish American Humor was along the lines of Dumb Polack Jokes, i.e. at the expense of dimwit or bland white goyim, especially Wasps). Jews gained tremendous leverage as comedians. Woody Allen and Mel Brooks became household names. Jerry Seinfeld entered every living room and became like member of the family or personal friend. But the problem with humor is it favors irony, sarcasm, and mockery. Jews can make people laugh but can also be laughed at, and being laughed at isn't far from being ridiculed. Notice how many people soured on Woody Allen after a series of scandals. He became the joke than the joker. Also, as Jews gained in influence and privilege, they became more anxious about humor as edgy satire of power. Notice Jews don't care for the humor of 4Chan types, not even Babylon Bee that pokes fun at Jewish-led agendas like globo-homo and tranny-wanny.

This is where Spielberg has been so valuable in scripting and evangelizing a special brand of Jewish Power. He understood and mastered the power of myth at the psycho-popular level. Richard Dreyfuss's character goes from funny and ridiculous(often associated with Jewish Comedy) to impassioned, heroic, and ultimately quasi-spiritual. As Pinocchio turns from wood to flesh, Roy goes from an ordinary American terrestrial to a Cosmic Jewish prophet on the precipice of divinity. He becomes pop-Moses. In THE TEN COMMANDMENTS, the Aryan Charlton Heston took on the role of the great Jew, as he would once again in BEN-HUR, the ultimate message of which is Jews should accept Christ. But in CLOSE ENCOUNTERS, it is really the Jewish-looking Jewish personality of Richard Dreyfuss who takes center stage.
At once, he becomes both More Jewish and More American as the story moves along. How could this be? How could someone become more tribal and more Jewishy in a white Christian majority America and still come across as All-American? This is where Spielberg's genius pulls off the magic. The movie is such a visual-aural treat, like a biggest Christmas Tree ever, that the awed audience just swoons along(especially aided by John Williams' all-encompassing and all-embracing music) and fails to sense that something isn't quite right in the equation. The music and circus-like effects cast their spell on everyone, but what is really happening is the crowning of the Neo-Mosaic Jew as the new christ.

In JAWS, Dreyfuss played a side character. Roy Scheider who took the main role is also Jewish but didn't play the role Jewishy, whereas Dreyfuss did. In CLOSE ENCOUNTERS, the Jewish Dreyfuss takes center stage. He begins more or less as typically American but then becomes ever more Jewishy in his feverish search for his personal 'lost ark'. (Something similar happens to the Jewish character of David Mamet's HOMICIDE. Initially, he thinks little of his Jewishness but becomes more aware, more angry, even to the point of vengeful paranoia. He goes from cultural amnesia in all-embracing America to tribal awakening as a member of the Tragic Tribe.)

In earlier times, many Jews sought to prove their American-ness by trying to act white(and look white, especially the women with nose-jobs). Many altered the names to sound more Anglo. Many repressed their Jewish personality and tried to act genteel like Wasps. Being American meant having to suppress some of that Jewishness which came to be equated with uncouth vulgarity. Of course, some Jews played up their Jewishness to the hilt, but this was mainly in comedy. For many Jews, the social ideal was embodied by Kirk Douglas who didn't even look all that Jewish. For some Jews who couldn't repress their Jewish idiosyncrasies but didn't want to be identified as Jewish, radicalism was the solution. That way, they could act pushy and neurotic in the name of some Social Justice cause, thus creating the false impression that their difficult personalities had more to do with ideology than identity. Take Abbie Hoffman and Jerry Rubin, archetypal problematic Jews in roles as anarchists or socialists.

But as time passed, there was too big a gap between the real Jew and the idealized Jew. Most Jews didn't look like Kirk Douglas. If they resembled certain European types, it was more the Southern European. Many Jews looked more like Joe Pesci than Clint Eastwood. Also, the personality traits of Jews really came alive when unfettered from pressures to act 'wasp'. If Dustin Hoffman's character in THE GRADUATE exhibited some of these Jewish anxieties, FUNNY GIRL that came out a year later was like a declaration of Jewish Personality Emancipation. The first Jewish Emancipation was about laws and rights. In contrast, the Jewish Personality Emancipation was about the right, indeed the necessity, for Jews to FEEL and ACT Jewish. If Marx Brothers' Jewishness was obviously caricatures, the New Jewish Comedians were meant to be genuine Jewish personalities than mere cartoons. So, Barbra Streisand was about how the Jewess could be totally Jewish and be sexy. And Woody Allen was about how a Jewish comic could also be a serious artist and 'thinker'. Still, if Streisand and Allen remained unmistakably Jewish, distinct from goyim, the strange thing about Roy Neary of Spielberg's imagination is he is so indelibly Jewish and yet also vividly American. In a way, his apotheosis lends the impression that the Jew is more American than American because, all said and done, the true fulfilment of the American Dream came with the Passion(or the Obsession) of the Jew. And this minority-centric view of America eventually led to globo-homo as the New Normal, i.e. homo minority is more the true exemplar of Americanism than anything associated with straightness. And notice how globo-homo celebration and symbolism are as outlandish, ostentatious, and obnoxious as anything by Spielberg.

What is most instructive about CLOSE ENCOUNTERS is it provides us with an arc of Jewish History from Jews-as-social-climbers to Jews-as-kings-of-the-hill. Roy Neary's adventure and transformation from Ordinary Joe Populist to Extraordinary Jew Elitist reflects the trajectory of Jews from challengers of American Power to champions of it(in their own image... or shadow).

Like Roy Neary, so many Jews in the 60s claimed to be for the Little Guy, the small fish. They were for the workers. They were for the downtrodden. Their radicalism had an element of populism. Jews would stand and march with the have-lesses against the Power Structure of Wasp elites and the Military Industrial Complex. Jews attacked the FBI and CIA. Jews subverted trust in institutions and authority. Jewish activism back then was ostensibly for the little guy, the ordinary joes of America of all color. Some Jews even took up farming or opted to work in factories(at least for awhile to prove their bona fides). Jews demanded answers from the Power. Jewish assault on Wasp privilege was supposedly for all Americans. Not just for equal opportunity for Jews but for ethnic whites, Catholics, blacks, browns, and etc. Jews even made a big fuss about the poor American Indians. Jews made documentaries like HARLAN COUNTRY USA and movies like NORMA RAE in the 1970s.
So, even though Jews, as radicals, subversives, or climbers, were clearly distinct from other groups(who were less intelligent, capable, and driven with ambition), they operated in the clothing of Everyman. Saul Alinsky is a good example. And the ACLU claimed to protect the free speech rights and civil liberties of ALL AMERICANS, yes even for Neo-Nazis and KKK. Jews put on a big show of WE THE PEOPLE against Wasp-ruled America and the Military-Industrial Complex that was said to be perpetuating the Cold War and killing many innocents in Vietnam and Latin America. (But, of course, mum about the Palestinians.)

Through much of CLOSE ENCOUNTERS, Roy Neary is like a combination of Jewish radicalism and Ordinary Americanism(or the populism of the Ordinary Joe). He joins with other Americans(who look goy) against the government establishment that isn't telling the whole truth and carrying out a secret project(one that makes the Manhattan Project seem like an open house). Roy demands to know the truth. He serves as spokesman for other Americans at the UFO conference. He is with the People against the Government. There are times when the US government seem almost crypto-fascist Nazi-like, an American Gothic take on Leni Riefenstahlism. And there were reasons for Jews to be worried about statism. After all, the National Socialists weren't a bunch of libertarians. And the Soviet Union, which eventually became an enemy of Zionism and an ally of anti-Israeli Arab nations, was about state power also. And in the Sixties, Jewish radicals denounced Amerika as a police state.

Of course, during World War II, Jews couldn't get enough of FDR's warmongering statism to destroy Germany and Japan, but because many Jews were on the left, the Cold War not only brought the Republicans back to power but began to prosecute people suspected of pro-Soviet sympathies, especially in the aftermath of revelations about the Jewish Rosenbergs(who gave Stalin the Bomb), the 'loss' of China to Mao, and the Korean War. This set the grounds for Jewish trepidations about state power, and in the Sixties many Jews took to styles of neo-anarcho-syndicalism that fused with chaotic youth-pop-culture. Jews, who'd been pro-statist during WWII, became anti-statist during the Vietnam War. It was partly out of sympathy for the communist Viet Cong but also because it's deemed anathema for Jews to die for goyim. Jews hated being drafted to fight wars on behalf of non-Jews. Of course, Jews couldn't say, "We don't want to serve in the military because Jewish lives are too precious to waste on saving goy lives from communism", and so, they made a big fuss about how they supported the Anti-War movement to end the war and its slaughter of civilians.
In the early 70s, New Hollywood put out a bunch of paranoid movies. Partly, it was a reflection of Jewish Anti-Nixon-ism, but it was also part of the Zeitgeist as the Sixties had done much to shake confidence in US institutions. And CLOSE ENCOUNTERS reflects some of the paranoia in movies like PARALLAX VIEW and THREE DAYS OF CONDOR. Roy Neary is positive that the government is lying and treating people like stupid children. He demands an answer and takes the law into his own hands. He goes rogue vigilante, smashing through barriers erected by the government to get nearer to Devil's Tower.

It's Roy as People's Hero against the State. He seems to embody the populist spirit. But there's a difference. Whereas the essence of populism is 'leave us alone'(as in "Don't Tread on Me" on the Gadsden Flag), the essence of Jewish Nature is to intrude into the power center. Whereas most populists don't care what the state does AS LONG AS it leaves them alone, Jews want to peer inside and see what's really happening inside the power. Their motto might as well be, "Let Me Tread on You." This is why Roy goes further than the Goy in CLOSE ENCOUNTERS. Though plenty of goyim have also been beckoned by the space aliens, most of them don't make the connections or give up half-way. But Roy pushes all the way. Like the Negro staring into Harry Callahan's barrel of Magnum 44, Roy gots to know. Throughout the adventure, Roy suspects the government is up to something sinister. And Spielberg even includes a train scene as if to suggest the US government could be like the Nazis rounding up Jews. It's Spielberg's way of saying a country is all about WHO HAS THE POWER. Is the power pro-Jewish or anti-Jewish? Roy the populist hero acts against the state through most of the movie, and Spielberg was surely channeling Jewish paranoia that goes back to the so-called McCarthy Era and re-emerged during the Nixon presidency. Could America really be Amerika?

And yet, Spielberg offers a revision to the paranoia. What if the government, though far from perfect, is mostly good and has reasons to keep the project a secret? What if the superior space aliens wanted it that way, i.e. to meet with the best and the brightest than with the unwashed idiotic hoi polloi among the human species? Also, what if Roy and others chosen by the space aliens had to undergo a trial to prove their worthiness? It's like the race of life itself from the beginning. Every human life is the product of a single sperm winning the race over all the other sperms. And Roy is the winning sperm who makes it through Devil's Tower(as the giant circumcised Jewish Penis) and enters the space ship as cosmic womb. If Stanley Kubrick's 2001: A SPACE ODYSSEY had a Wasp being reborn as Star Child, CLOSE ENCOUNTERS alters the vision with a Jewish Guy as Spacenik. Even though the goy-controlled state once placed obstacles against the Jew, it was ultimately meaningful as the obstacles demonstrated the superiority of Jews who won the struggle to overcome them. Thus, Jewish challenge to the Power didn't so much prove Jewish commitment to equality as Jewish Superiority as the only people who could topple and gain mastery over the Wasps. Unlike National Socialist Germans who were determined to keep the Jews down at all costs, Wasps had a 'good sport' culture and welcomed Jews as the rightful winners and owners of America.

Roy, who'd been so anti-government and anti-authority through much of the movie, comes to feel that the state had been right all along. This special moment cannot be for all the world. Too many people are idiots, boors, retards, undeserving of the cosmic-covenant. No, this encounter with cosmic gods must be for the best of the best among mankind. The brilliant scientists and the like. And even though he was an ordinary joe, just another working man, he too deserves to be there because he's proven his resolve and mettle through trial by fire, by running roughshod over all obstacles. He earned his marks, and he belongs among the best-and-the-brightest. In their company, he is no longer complaining about the government, the secretiveness, and the deception to the public. He comes to understand the need for secrecy and even duplicity by the powerful, at least if the powerful isn't nazi-like or anti-Jewish. As it turns out, state power in the US isn't filled with anti-Jewish Nazi-types but many Jews and Jew-friendly goyim. Also, as the superior space aliens choose him, a Jew or crypto-Jew, over all others, we must trust in the power because its ultimate manifestation is about the Covenant of the Jew and Cosmic Power. Roy's example suggests that Jewishness is so special that even a seemingly Ordinary Joe/Jew is among the very best, part of the natural elite favored by cosmic power.

Roy's transformation from Ordinary Joe populist to Extraordinary Jew elitist is illustrative of the change in Jewish attitudes, outlook, and values over the years. Jews, who used to challenge deep state institutions, are now their biggest defenders. Jews, who used to speak of civil liberties and free speech for all Americans, are now the biggest agents of censorship or censchwarzship. Jews who used to decry the warfare state are now the biggest warmongering imperialists on the basis that the 'adults in the room' know what they're doing. Jews who used to challenge the official narratives are now the biggest pushers of officialdom. Many Jews know the narratives are bogus but push them anyway because the dimwit goyim simply cannot handle the truth, or so they believe. It's like Roy becomes part of the powerful crew once he makes it over the mountain and is accepted by the best and the brightest.

Most Jews arrived poor to America in the late 19th century and early 20th century. They had no choice but to struggle alongside the working class and white ethnics. So, many Jews back then believed in the shared struggle alongside poor white goyim against the Wasp Establishment. Jews and the People vs the Power. But Jews were different from other groups. They were smarter and savvier than the Dumb Polacks, Greasy Italians, Drunken Irish, and the like. Indeed, they were even smarter than the ruling Wasp class. So, it was only a matter of time before Jews would not only outpace the white ethnics but wrest power from the Wasps. They had no choice then to shed their Ordinary Joe clothing and put on cloak of Extraordinary Jew. It's like Roy goes Royal.

And so, we are now in the age of Covid. When Covid Hysteria broke out, the first image that came to my mind was the scene in CLOSE ENCOUNTERS where Roy figures the government is practicing psychological warfare to fool the public. Whatever threat Covid poses, what honest person can deny it's been vastly exaggerated and manipulated as political tool to hoodwink and control the dimwit multitudes(and even alter and pervert political processes, not to mention used for raking in massive profits).

Now, given that Steven Spielberg made CLOSE ENCOUNTERS, do you think he would side with the Covid Skeptics who are like Roy as Ordinary Joe? NO, because Spielberg is Roy-gone-Royal. He knows his Tribe has the power. His Tribe is smarter, superior, and wiser. His Tribe is more deserving of more money and more power. And so, just like Roy learns to stop worrying and love the power(that finally aids him in the fulfilment of destiny), people like Spielberg have stopped worrying about the power because they got all of it and intend to control us as dimwit hoi polloi who should just yammer about Big Foot and leave important matters to the Power, the adults in the room... the Jews.

Roy Neary from Ordinary Joe to Extraordinary Jew to New Christ

Wednesday, August 25, 2021

Notes on Review of RED SHOES(by Michael Powell & Emeric Pressburger) by Trevor Lynch

https://counter-currents.com/2021/08/the-red-shoes/

Finally forced myself to see the whole thing. Not my cup of tea but I can see the attraction and understand its high esteem among film lovers. Martin Scorsese for one always lists it in his top five or ten of the greatest films.

A happy ending seems, however, to be in the offing until the screenwriter contrives a perversely tragic finale in which Vicky Page dies. Both Lermontov and Craster live on, but they are utterly destroyed as human beings.

Not true. As RED SHOES the movie is based on a tragic tale by Hans Christian Andersen, it was designed to end madly; 'Red Shoes' story serves as a darkly romantic metaphor for art as tragedy(and transcendence). RED SHOES isn't just about the people involved in the production of the ballet but how its tragic themes leap out into life itself. At the end, Craster is certainly heartbroken, but Lermontov, though shaken and saddened, triumphs in a way in the creation, both inadvertent and destined, of the ultimate dancer. It's like the jump-to-the-death by the priest in THE EXORCIST signifies both death and victory. RED SHOE's ending isn't 'contrived' in the conventional sense of the term: implausible, arbitrary, ludicrous, overly clever, gratuitous, etc. Rather, it's a necessary coda within a story idea that is itself one big contrivance: The Tale of Red Shoes as story, as performance, and ultimately as life itself. It has to be appreciated like Alfred Hitchcock's VERTIGO where every character operates within a logical construct of doomed love and tragedy. In such stories, characters live out their fates without any recourse to free will.

(RED SHOES) actually puts ballet on the screen, most spectacularly in the form of a 17-minute original ballet based on Hans Christian Andersen’s fairytale “The Red Shoes,”

It is impressive but also full of gimcrackery. It's fancy high-toned kitsch but kitsch just the same. Garishly arty and overdone with razzle-dazzle, rather like the later films of Federico Fellini. It's all too much. Also, Powell lacked the subliminal savvy of someone like Orson Welles whose images slipped through sensory crevices. The deft Welles was always two or three steps ahead of the viewer. With every stroke, he drew us into his hall of mirrors that reflected both classic order and cubist incongruities. In contrast, Powell was nothing if not obvious, and every trick is right in front of us, plain and simple. For all the complexity of production, the effect is rather crude, like a more elaborate version of the cinema of Jean Cocteau whose trickery was merely updated version of outdated silent cinema techniques.

The dance would have been so much more effective if Powell had relied solely on editing, lighting, sound, and pacing to convey mood shifts between art and reality. That truly would have been dreamlike and hypnotic, weaving a new way of seeing. But the bag-of-tricks-photography is so glaring at all times that it feels more like pictures in a gallery than a flow of imagery. A more effective use of cinema would have sensorially drawn us in than made us all too keenly aware of what's on the screen. It remains apart, in front of us than enveloping us. How more artful it would have been if Powell moved between reality and fantasy without laying so obviously bare the shifts. Then, we would have been lulled INTO the dance than merely looking AT it. It would have been magical than mechanical, evocation than affectation.

No doubt a great deal of care and preparation went into the much celebrated dance sequence, but it isn't quite cinematic. The overall effect is superficial than substantive because it amounts to glittery trickery than wholeness of visioin. It's like playing with fonts than with words. While pretty fonts are nice in poetry, the decisive factor is the use of words to conjure imagery and moods. Mastery of words than their stylized presentation on the page(as font) is the real heart of poetry.

The heart of cinema is composition, movement, and editing(montage). And even though Michael Powell knew the language of cinema, he had a tendency to fall back on trickery and superficial effects that cheapened his works — the kind of tricks that got tiresome already in the era of George Melies. In the case of A MATTER OF LIFE AND DEATH, the effects were soon badly dated and now seem gauche. The effects in RED SHOES fare better but are still register as effects, over-done, imposed, and at odds to the trance-like aspects of the dance number. The tricks are so obviously tricks(no matter how well-crafted) that they keep reminding us that it's a bag of tricks than a call to magic. They amount to fonts than the grammar of cinema.

The Red Shoes is about the relationship between art and life. Early in the film, they are likened to one another, because they are both compulsions:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, but I must.

Vicky: That’s my answer too.

Not exactly because Vicky and Lermontov see life differently. Vicky doesn't see dancing nor life as compulsions. She sees them as natural. She's happy to be alive, and she's happy to dance. She dances for joy. She dances when she wants to. It gives her pleasure. Dancing is something she's willing to give up if she tires of it and finds joy in something else. For her to say that dance is like life means it's good to be natural. It's like animals run around because it comes naturally to them. They don't run to win races or to be the fastest animal. Even though Vicky isn't without ambition and hunger for fame, she dances for joy and pleasure. It is a natural extension of her view of life. For her, life and art/dance are not in conflict. This accounts for the misunderstanding between Vicky and Lermontov.

To Lermontov, art isn't merely like life or its extension. After all, most of life is routine and humdrum. One must do what one must to live: Eat, sleep, work, and etc. Life as necessity is about going through the motions, true regardless of whether one is genius or idiot, king or serf. At any rate, art isn't necessary to life. One could live without reading a serious book or watching a single ballet and live to a ripe old age. Indeed, many people with no interest in the arts lead pretty good and happy lives, which is the story of most of humanity. So, whereas life is about necessity, art is about obsession with the unnecessary.

For Vicky, dance is an extension of her view of life: pursuit of happiness. She came to love dance, and she sees dance as an expression of her joy. So, dance need not be a compulsion with her. But for Lermontov, art/dance is a pursuit of perfection even if it means agony and torment. It must be pursued to the very end. He is the dark and extreme side of the Red Shoes as metaphor, which represents both the joy of dance(as favored by Vicky) and complete intoxication(as envisioned by Lermontov).
Same goes for sports. Most people play sports for recreation and fun. It's an extension of our natural need to run around and play. For most people, sports is merely a part of their life. But for those who seek to excel in sports and possibly be the very best, sports becomes life itself. It becomes all-consuming, even to the point of self-destruction, as when any boxer steps into the ring. This is also true of spirituality. For most people, a bit of piety is enough. But what differentiates the saint is the willingness to devote one's life entirely to God. No wonder Martin Scorsese loves RED SHOES. It can seen as yet another false-messiah parable paralleling the life and death of Jesus who went all the way.

Anyway, there is a misunderstanding between Vicky and Lermontov. When Vicky says she dances for the same reason Lermontov lives, she assumes he is like herself. Vicky is naturally a light-hearted person. She feels joy in life itself. She would have been happy even if she'd never come upon dance. In her mind, life and dance are one and the same, an expression of joy.
In contrast, Lermontov seems to find little joy or zest in life itself. He lives not for life but for art, for ballet. Without that, he would find life gloomy, absurd, and meaningless. For him, life is fallen and pointless, a world inhabited by no-talents and idiots. It is through art that human ability rises above commonness and reaches for the summit of beauty and sublimity. For Vicky dance reveals life, whereas for Lermontov dance redeems life. One might say Vicky's view is more pagan, more in tune with the natural way of things, whereas Lermontov's perspective is christo-homo, i.e. nature/reality is ugly, plain, loathsome, and dull EXCEPT when elevated toward transcendence and redeemed.

Lermontov is apprehensive about affection between lovers because everything becomes soft and fuzzy between them. It weakens the sharpness and takes away the edge. He watches with an eagle's eye as his only love is perfection. In contrast, human love means unconditional acceptance of someone despite his or her flaws. So, when Craster and Vicky fall in love, they become indulgent of one another. Craster can love Vicky the imperfect dancer, and Vicky can love Craster the flawed composer. Love, in all its mushiness and forgiveness, fills in the gaps.
Lermontov, whose vision remains unclouded by lovey-dovey, can see with clarity what is necessary for perfection. Purely from an artistic vantage point, Lermontov is correct that the three had an ideal set-up before the love happened. Craster devoted himself to composing, Vicky devoted herself to dancing, and Lermontov had his eyes on the prize. It was a perfect triangle, but love got in the way. It's sort of like Merlin in EXCALIBUR sensing that love will bring it all to ruins among Arthur, Guinevere, and Lancelot. (And it's Noodle's sentimentality that fogs his vision of what Max and Debra are really after in ONCE UPON A TIME IN AMERICA.)

Part of life is love, marriage, and family. Lermontov is particularly dismissive of ballerinas who allow these considerations to interfere with their art. First, it leads him to dismiss his prima ballerina Irina Boronskaja

This is only partly true as it's not a general principle with Lermontov. He knows very well that most ballerinas in his troupe will not reach greatness. They will merely be adequate, and it's doubtful that he would have fired any of them for getting married. Indeed, he doesn't expect much from most people in the business. But he has the dream of creating the ultimate dancer, and SHE must be totally devoted to the art. Thus, Lermontov has a double-take on creativity. At the basic level, art has its conventions and role in society. It is entertainment and business. But at the highest level, it is for the few who can break through the barrier of conventionality. As a businessman, he's content with the basic art that brings in the paying customers. But as a visionary, he must have total devotion from the chosen few.

It is tempting to believe that Lermontov was acting out of sexual jealously. His body language with Vicky in one scene is quite intimate... Craster accuses Lermontov of jealousy. He agrees, but says it is not sexual. He may be telling the truth.

It's obvious Lermontov is a toot, especially when he dons those 'gay'-looking sunglasses. In a way, his personage is instructive as to why homos gained such power and leverage in society. Unlike straight people whose careers and pursuits become weighed down by marriage and children, homos (especially back then when it was scandalous to be outed) were always working. Homos put in more hours because they had fewer conventional burdens of family life and sentimental attachments.
Of course, today some homos do get 'married' and have semblance of 'family life' with adopted children, and homosexuality is even associated with 'pride', but in the setting of the movie, homos would mostly have been secretive figures. Also, because homosexuality was regarded as a perversion, sickness, or sin, even most homos grew up with a degree of self-disgust, doubt, and anxiety for having particular peccadillos. Lermontov certainly isn't a 'pride-homo'. His sexuality is thus repressed.
So, it's true that Lermontov is jealous but not in a sexual way. He jealously wants to pull Vicky into his orbit so he could fulfill his dream of turning her into a total work of art. For Lermontov, whose repressed homosexuality has been channeled into total devotion to art-as-religion, it is sacrilege to allow Vicky to remain merely human in the fleshly role of wife and mother. Only through art can she reach the 'spiritual' level of transcendence. Such jealousy also crops up in Chen Kaige's film FAREWELL MY CONCUBINE. The Leslie Cheung character, being homo, does feel sexual attraction to his male performer-partner, but the jealousy goes beyond that. He wants both of them to belong totally in the realm of art(the Chinese Opera). It seems like a waste for his partner to get married to some harlot and fritter his talent away as a hubber. Lermontov resembles another character, the old man in Otto Preminger's LAURA, who is so taken with Laura's beauty that he wants to construct her into an ideal and loathes the notion of any lowlife male coming near her. Another character that comes to mind is Kirk Douglas's role in THE BAD AND THE BEAUTIFUL where Douglas plays a S.O.B. but also an indispensable one-of-a-kind personality with the magic touch.

In a way, RED SHOES offers a glimpse into the homo-god-complex. Homos have traditionally been more into art(ifice), design, and fantasy because they were denied(and rejected) the humdrum conventionality of conjugal bliss. On the one hand, they didn't want to get married and do the normal things. On the other hand, society would have punished them(or even executed them) for acting all 'gay' and indulging in sodomy. So, homos created an alternative universe in art, decor, fantasy, so much so that it caught the eye of the privileged aristocrats who came to patronize homo creativity.
In a way, Lermontov is to Vicky what God is to Jesus. Lermontov's god-complex wants Vicky to forsake human life and totally commit to art and beauty... even if it means madness. Life is about growing old and dying. Art is forever and eternal. Likewise, in Martin Scorsese's adaptation of THE LAST TEMPTATION OF CHRIST, there is a part of Jesus that wants to be normal and live as a real man and experience intimate joys. He wants a wife, family, and children. He wants to grow old and see his grand-children. But God has other plans for him. He must forsake what is human to reach a higher plane. He must become the messiah, which entails pursuing spiritual truth to the end, even if it means crucifixion, humiliation by the mob, and agony of death. Only thus could he reach immortality. And in RAGING BULL, there is much about how a true boxer must repress his sexual pangs before the bout to be strong and focused in the ring. Scorsese the renegade Catholic surely drew parallels between RED SHOES and the Christ tale. Though fascinated by these parallels, he believes there is only one true Messiah, and the rest are false messiahs as their pursuits, however amazing or inspiring, are expressions of vanity, sensuality, power-lust, or egotism than of the deepest wells of the soul.

In another brilliant, brooding scene, Lermontov comes to the realization that he has been a fool. Then Lermontov decides to approach Boronskaja, who is still happily married, and lure her back on stage. Boris has obviously concluded that art and life—in particular, married life—need not conflict. A year later, he manages to lure Vicky back on stage to dance The Red Shoes again.

That's a misreading. Lermontov never feels he was wrong. Luring back Irina was essentially a business matter. After all, he can be practical and diplomatic. With Vicky gone and his dream turned to dust, he needed someone for his company, and Irina just happens to be the one, and he had to make do. He knows the show must go on. He has to pull in the audience, make money, and pay the bills. But if he was truly content with Irina, he would not have gone out of his way to reconnect with Vicky. She is the key to his ultimate dream. He's had many successes, but he never created the perfect dancer, and he feels it in his bones that it must be her. Indeed, he recruits her not merely to perform RED SHOES but to persuade her to leave her life behind and commit totally to dance. He means to drive a wedge between Vicky and her husband Craster.

Then Emeric Pressburger’s script goes seriously off the rails.... Fixated on contriving an ending that is both gruesome and unhappy, Pressburger simply forgets about Lermontov’s character development toward accepting that his ballerinas can have private lives. He also turns Julian Craster into a petty, jealous villain—something not foreshadowed in the least. Then they drive Vicky to suicide.

This is totally wrong. First of all, the story is not a realistic portrait of people in ballet. Rather, it's been specifically constructed so that life imitates art. The story of Red Shoes must be lived out by the particulars in 'real life'. Its ending was fated to be tragic. It's almost as if their reality becomes possessed by the fantasy.

Also, there was no character development in Lermontov toward accepting the 'private life' of Vicky. Rather, Jekyll-and-Hyde-like, he can shift back-and-forth between art and business. When he re-hired Irina, it was the business side of him in action. It's the same with priests. At times, they must be political and pragmatic, even shake shady hands and take money from questionable sources. But before God, they must be pure. Likewise, while the business-side of Lermontov could seem agreeable and compromising, he never abandoned the 'religious' side of his devotion to ballet. His intention wasn't merely to hire the married Vicky to dance Red Shoes again but to ultimately wrest her from Craster and make her devote her life 100% to art.

Also, Craster doesn't come across as a petty jealous villain. His emotions are utterly understandable. He senses correctly as to what Lermontov is really up to. If anything, Lermontov comes across as the calculating villain(yet a sort-of-noble one because his vision is genuine). Craster rightfully fears that he may lose Vicky to Lermontov for good. Also, she is absent on the very day of the premiere of his opera. It is a big day for him, and he naturally wanted his wife to be with him as partner and support.
In a way, both men are possessive of her in different ways. With Vicky as wife, she will play a supportive role to Craster as the artist. Her dancing will merely be a hobby, something on the side. In contrast, with Lermontov she can reach the height of her profession and win acclaim in her own right. But she will have to give herself totally to Lermontov. He will possess her like the red shoes possesses the dancer in the Hans Christian tale. Dance as celebration will have to give to dance as tribulation. The shoes will become her cross to bear.

The fact that Vicky feels guilt in Craster's presence is proof that he isn't a villain, at least not in our eyes. In Lermontov's eyes, yes, but the full extent of Lermontov's deception emerges in Craster's presence. Earlier, he enticed Vicky as if he'd mellowed since their breakup, but he spells it all out when Craster pleads with her to return home with him. Lermontov admits it was his plan to come between them and pull Vicky totally into the dance world. The fact that Craster accepts this and walks away makes him a sad sympathetic figure than a villainous one overcome with petty jealousy. It's doubly sad for him because the movie began with his discovery that the man he admired had plagiarized his work. Once again, something of his is taken from him. In both cases, he is resigned to lose.

The whole setup is absurd. Vicky has come to Monte Carlo on vacation. On the spur of the moment, she agrees to dance The Red Shoes again. We are asked to believe that Craster’s new opera is to premiere in London the same day that Vicky dances The Red Shoes again in Monte Carlo. Why was Vicky in Monte Carlo on her husband’s big night?

Actually, it wasn't on the spur of the moment. In the back of her mind, there was always a wish to return to the stage. Despite severed ties, there was always a thread connecting Lermontov and Vicky. He wanted her back, and she wanted to be back. So, while ostensibly it seemed like a spontaneous decision, dance was always something she wanted to do and regretted walking away from, at least in part. She genuinely chose Craster out of love but also gave up something she loved. Lermontov queries as to whether she kept her body in shape and senses in her affirmative that she'd always wanted to return to ballet in a big way.

Now, did Vicky arrive in Monte Carlo ON THE DAY of her husband's opera debut? Isn't it more likely that she arrived some days earlier and planned to return before the opera date but chose to remain and dance the Red Shoes? And it was her failure to return before the opera that spurred Craster to make his own journey to confront Vicky, whom he rightly senses has been drawn into Lermontov's web?

Indeed, when Lermontov and Vicky met in the train, Vicky says the opera is only in rehearsal, and Lermontov tells her that he is PREPARING a ballet. There's no indication that both the ballet and opera will be performed on that very day. It's my understanding that the performances will take place about a week or two AFTER Lermontov and Vicky meet on the train. The reason why Craster appears so distraught is because he's been (1) worried sick and (2) surmised, correctly, that Lermontov somehow got his meat-hooks into her. He calls Lermontov jealous, but he too is jealous. Even if he knows Lermontov may be a tooty-toot after all and has no sexual interest in her, he knows she is drawn to his artistic gravity. With him, she is a wife, a mere partner and fan. But with Lermontov, she can be the star, and no one gets more love than the star in the performing arts. Lermontov, though a person of artistic sensibility, is essentially a manager, not a creator in his own right. In that, he is a bit parasitic of everyone, though he can be said to be as selfless as selfish. He's selfish in demanding that others bend to his will yet selfless in total devotion to ballet and in wanting the best of his star performers. Craster as composer can be considered a star in his own right, but a composer doesn't take the stage. It is the dancer, and Vicky-as-star is something that only Lermontov can offer. Vicky feels guilt as a wife who isn't there beside her husband in his moment of glory, but Craster feels guilt as a husband who took her chance at stardom away from his wife. As in STAR IS BORN, love-and-art is complicated.

Then Vicky, who is trying on the red shoes for that night’s performance, goes mad and hurls herself off a balcony, then gets hit by a train. The train seems like overkill, but there’s still enough life in her to beg a distraught Julian—who just happened to see her plunge to her death, even though it would have been impossible from his vantage point—to take off the red shoes.
I can’t think of a more arbitrary, ramshackle, and dissatisfying end to an otherwise great movie. It is a testimony to just how good the rest of the film is that viewers put up with it.

I'm assuming she didn't fall on the railroad tracks and was run over by the train. Rather, it seems she fell ON the moving train. Now, if she'd landed on the tracks and her legs were cut off by steel wheels, it would have more or less duplicated the grisly details in the original Hans Christian Andersen tale. But too gory for cinema, especially at the time.

Is the train overkill? Maybe, but everything in the movie is overkill, which was either Powell's strength or weakness(depending on one's taste). And yet, given the train's motif in the movie, it sort of makes sense. It was at the train station that Lermontov bid adieu to Irina. It was on the train that Lermontov and Vicky met again. Train represents both separation and union, the transience of life. Indeed, Lermontov is very much a man without a country. Though Russian in origin, he moves from place to place like a high-class gypsy.

Did Craster actually see her plunge from the balcony or did he turn his head because of the commotion of the crowd?

How is the ending arbitrary? Vicky's death and the removal of the red shoes evoke Andersen's tale. It makes total sense within the concept. Also, her death is not the final scene of the movie. The final scene is Lermontov announcing Vicky's death to the audience and the performance of RED SHOES going on without her... or with her in spirit. In that sense, Lermontov finally got what he really wanted. He turned Vicky into a spirit. It's like Jesus died on the Cross and was resurrected as Spirit with eternal life.
Indeed, even had Vicky become the dancer of Lermontov's dreams, she would eventually have aged and slowed down with injuries. Even as the best dancer, her flesh and bones would have grown weak. She would have faded. But as a spirit, she is young forever and forever tireless.

Also, the manner of her death suggests she didn't merely perform the Red Shoes but lived and died it(and transcended it). Like the heroine in the tale, she was torn between the need to dance and the wish to return to reality. The pull from both sides was so overpowering that the only solution was a kind of heightened death. It's like the Christ story. Jesus on the Cross felt all the pain of the human flesh, and He also reached out to Heaven. At that moment, He was neither just a man or just God. He was in that limbo world, the between world, and He had to die to finally cross into the spirit realm. It's tragic but also triumphant. And the same goes for the ending of RED SHOES. In a way, Vicky's real role of the Red Shoes was not on the stage as a dancer. Rather, it was her struggle between personal attachment and artistic vanity; and to play this drama to the very end, she had to end like the heroine in the story. She had to take an inspired leap from art into reality, and what is more real than a moving train? And finally, the shoes could be taken off. And yet, her death has released her spirit that can forever dance the Red Shoes.

But above all, I love The Red Shoes as a portrayal of the world of European high culture: an aristocratic, inegalitarian world devoted to the pursuit of beauty and excellence—a world whose basic principles contradict those of democracy and mass commercial entertainment.

But don't you like STAR WARS and TV shows and lots of commercial entertainment?
Also, Lermontov is aristocratic-like only in part. His nomadism suggests a gypsy-like existence. He's a hustler and businessman as well as artiste and connoisseur. All said and done, his is a business enterprise.

By the way, aristocrats were mostly dummies, hardly different from today's elites. Few created art of their own and relied on others to tell them what was hot and what was not. Most imitated the ludicrous fashions coming out of French courts, with powdered wigs, face paint, and snuff. And oh those pansy-ass dresses. Just imagine. Noblemen started out as warriors. Tough hardy men. But they amassed fortunes and got used to privilege, and their children were raised spoiled with luxury. They became obsessed with status and conformed to whatever was put before them as the latest thing. No wonder so much of aristocratic culture became 'gay' and whoopity-poo. Homos came up with all these candy-ass dresses, wigs, and make-up and whispered into idiot aristocratic ears that it was so fancy-poo to dress like fairies and strut around like girly men and speak in high-toned accents(which made British English so 'gay' sounding). This is why it's refreshing to see semi-barbarian elites of the Russian court in IVAN THE TERRIBLE. Them fellers have yet to put on pansy airs... like the Westernized Polish court in the opening of IVAN THE TERRIBLE Part 2.

Get a load of the tooty-ass Polack on the throne in this scene:

As if the culture of the Western aristocratic elites weren't tooty enough, we now have globo-homo fruits running all the culture and making 'gay' crap compulsory. This is why I can't get into ballet. Sure, it's a great work of art and a beautiful dance form... but it's also so 'gaaaaaay'. I prefer folk culture to aristo culture. Manly Russians dancing on tables is better than a bunch of pansies tip-toeing around or prancing about. It was a huge mistake for the Soviet Union to prop up the Bolshoi Ballet and make Russian guys prance around like a bunch of fruits. Chechen Lezghinka is a better dance. Though I don't like guys dancing in general(with the exception of Gene Kelly in SINGIN' IN THE RAIN and YOUNG GIRLS OF ROCHEFORT), people of Caucasus have manlier ways of dancing. Ballet should only be for girls. Any guy in ballet tights should be paddled in the butt.

Europeans emerged from 'faggy'-looking aristocratic culture with the rise of the bourgeois and the masses. It was bourgeois culture that led to the English three-piece suit that was at once stylish, economic, and modest(lacking in the aristocratic dictionary). And I'll take the cowboy look over the aristo-fruit-look any day. Those guys in dusters in ONCE UPON A TIME IN THE WEST look real good. But the Three Musketeers look like a bunch of pansies.