Quentin Tarantino You Suck!

I had from the early beginning of Quentin Tarantino’s career been a little disturbed by his fascination with torture. We saw a little of it in Reservoir Dogs and a little more of it in Pulp Fiction. By the way Quentin, these were the only two decent movies you ever made, and you pretty much stole them both outright. {*1}

So, you made your splash [looking at the above image from Pulp Fiction, I’d say a splash of blood and semen], and then you started getting the big money. You rested on your laurels and put out rehashed unoriginal crap, culminating with Kill Bill. The extent of its “originality” consisted of over-emphasized violence, tempered with big-budget effects used to make it stand out as something other than a rehash of literally hundreds of kick chop suey Hong Kong kung fu films.

INLINE FEEDBACK: Those who’ve seen Pulp Fiction, may recall the substance sharing screen space with blood on Uma’s face as snot or regurgitate. Zoom in on the image and tell me if it looks like either? Would the implication be, that while not shown, Travolta took advantage of Thurman before resuscitating her? Remember his words about the night, and his guilt at the end of scene?

But, there was a far more insidious scripted undercurrent to Kill Bill, wasn’t there: this twisted divisive version of feminism pushing the message that women can empower themselves by being more ruthless and more violent than men.

“Violence is one of the most fun things to watch.”
–Quentin “QT” Tarantino

So, you’ve got a few perversions. You’re probably a bit of a masochist, and I’d imagine that you might enjoy having women walk on your testicles or something. Fine. Knock yourself out. Go ahead, indulge yourself. Really!

Unless your choices start impacting my life, I honestly couldn’t care less what you do. For the moment, I only have two questions for you, one of which I’ll save for later. Question #1: Just where, along the way, did you sell your soul?

As I’ve previously stated, I don’t believe in the devil. But, I do believe that the process of selling one’s soul, refers to the price that “celebrities” pay for fame and fortune. While there is no “devil” to speak of, there is the small group of ruling power elites degenerates that have complete control of all the media outlets.

Aside: Based on personal observation, I think a few out there will resort to the Pavlovian media-embedded “[player-]hater” phrase to dismiss anyone criticizing someone perceived as “successful.” Just this past weekend, some young woman threw this accusation at me while I was discussing a related idea to her friend. Is a response even worthy of the precious space in this “aside?”

So, you want to be a “rock star?” You don’t have any talent or skills? Well come kneel down before me for a few minutes [and let me gaze down on your the top of your pretty little head]. We’ll promote you. After you’ve spent some time on your knees, we’ll make sure you get lots of screen-time and lots of air-play. Don’t worry about “the public.” They are so dumbed-down now, they don’t even know what the word taste means anymore. We dictate their tastes to them.

But there are two ways to please the devil aren’t there? {*2). Looking at you Quentin [you are no Tom Cruise, and in fact, quite the opposite], so I’m gonna guess the devil didn’t ask you to fuck suck [Bill Hick’s on topic]. But, they did ask you to be their servant, didn’t they? Push our agendas on the minds of the ignorant and you’ll be rewarded. You’ll get laid all the time. You’ll have wealth beyond your imagination [which is actually possible, considering how little imagination goes into most Hollywood films these days]. The [proverbial] beast will be served:

• Manhunt after ‘Tarantino-style’ murder of students

And you’re doing it all too willingly now aren’t you? No longer making movies with references to torture. Now, you’re making movies in which torture is the plot. And, here is the point where your “choices” run the risk of impacting my life.

I made the mistake of watching Hostel, and other than noting its referenced indirect effect on the public mind through subconscious imitation, I probably wouldn’t have bothered writing this. That is, had I not watched Hostel II.

So, the difference between the second movie and the first, is that instead of three college-age white males in Europe, you have three college-age white females in Europe. Wow, that’s like a whole new movie there! I got a free idea you’re welcome to steal: three college-age black girls in Europe [Hostel III: Torture in da Hizzy].

But, let’s not give ALL the credit for this piece-of-shit predictive programming exercise to Tarantino, without failing to recognize the other name so prominently displayed on the jackets, director Eli Roth. Having spent some time researching synchronisities in films, I’m arriving at the conclusion that the real power to shape, control, and implant symbols in films lies with the executive producer. Still, looking at Eli Roth’s rap-sheet does produce some interesting items:

• “His father, Sheldon Roth, is a world renowned psychiatrist/psychoanalyst and a professor at the Harvard University medical school.”

• “Is an expert on the relatively unknown scientist Nikola Tesla. Roth owns copies of every known letter Tesla ever wrote, including rare letters to Tesla’s family and to financiers when his projects fell apart.”

• “One of his favorite movies is The Wicker Man (1973)“

• “Gave an expert commentary on Troma’s DVD release of The Incredible Torture Show“

The name “Roth,” of course, implies AshkeNazi descent, and I’m sure would surprise no one to find yet another in Hollywood. Oddly, his father has written about “three types of trauma” (external, developmental and intrapsychic), was featured in book about “shadows of the holocaust”, and said some “interesting” things about the impact of sonny’s film. Whether or not the first image of Eli syncs with Ariel Toaff’s Blood Passover: The Jews of Europe and Ritual Murder [book unavailable anywhere online, hence another perspective] is up to the reader.

The second image was found here [“Eli Roth has a big Devil-dick“] and syncs with the theme of this article, along with another I wrote on torture and Satan [before I really understood synchromysticism]. Though his phallus is prosthetic [click on the SERIOUS image at your own risk], I’m forced to wonder if it’s somehow symbolic of young Eli subconsciously resenting the day his parents forcibly snipped his manhood? Wouldn’t it have been much simpler to just buy a Porsche?

As for Toaff’s work, there is much dispute over it. Looking at the utterly suspect wikipedia entry [“truth by consensus and political correctness”], does produce some revealing “truths.” We see academia [i.e., the same group of useless accredited numskulls that preach Darwin’s evolution, solid earth, and ahem, “fossil” fuels] lambasting the author. A couple of notes on the content:

• The nefarious Greek character mentioned, “Mavrogonato,” would literally translate to “black knee[s].”

• “A week after its publication, Ariel Toaff withdrew the book from circulation, in order to ‘re-edit the passages which comprised the basis of the distortions and falsehoods that have been published in the media.'”

• Most-telling: “A revised, second edition of his work appeared in February, 2008. Toaff now claims that the accusations of ritual murder, as a common jewish practice, were entirely Christian fabrications.”

I have yet to read the book, and can assume that finding a copy would be quite a challenge, but I could deduce that Toaff was forced to recant after “friendly” intimidation by the ADL/JDL mafia, much like [“self-loathing”] Jewish Auschwitz researcher David Cole, but forget common sense. Am I going to start connecting Zionism to the idea of “Hostels?” No. Just, yet again, when you find clue after clue under every rock you turn over, you have to wonder if they’ve been planted there.

Back to the movie, if you want to call it that. Aside from the Eli/El sync, one of the villains in the movie is named axeLLe: a mirrored El sygil, combined with “John the Baptist” sync [said character’s head is chopped of with an ax]. That’s about all the syncs you’ll get out of me, watching this movie once was more than enough.

Is there revealing? The scene where an older aristocrat woman bathes in the blood of one of the “heroines” was doubtlessly inspired by Erzsébet Báthory. Is it real? Allegedly, it is “based on a true account of a Web site from Thailand that, for a price, offered to let a person shoot someone else in the head.” I’m thinking yes. But, whether there is such a network, or the movie [intentionally or by chance] is disinformation to draw suspicions away from Talmudic Ashkenazis, the Black Nobility of Venice and Genoa, or the Merovingian bloodline, I can’t say.

One has to wonder where the alleged 3000 children reported missing daily end up, or, if those numbers are a scare tactic, to instill fear into parents, so they’ll keep their children from playing outside, locked up safe in front of the television). Less often heard about, is the alleged 3000 children lost by the Florida pedophile network known as the Department of Children and Families. {*3}

Far less is heard, about the model wanna-be’s that get carted off to Saudi Arabia (regularly). And finally, a lot known, but very little done, about the 1000’s of poor young women (usually from Eastern Europe) kidnapped by government sanctioned groups like Dyncorp and peddled as sex slaves in Tel Aviv [among other places].

But, Hostel’s point wasn’t to “expose” these things, was it? No, it’s got an entirely different agenda. The rest is pure predictive programming. Aside from pushing the torture meme further into the psyche, it also had to push material wealth as the great divider of status. In the beginning of the movie, the protagonist of the former Hostel, the average middle class American kid has to die [the torture network finds and beheads this “commoner”].

The “protagonist” of this second film [and I say that begrudgingly, because of all the characters in this excuse for a movie, she was the one I was hoping would be offed soonest]. She turns the tables on her torturer. The “network” catches her and she tries to buy her way out spewing out shite about how she could “buy and sell them ten times over” [people I’ve heard say things such as this, are usually the most pathetic of programmed robots posing as individuals ever encountered]:

Beth: “No, motherfucker. It’s my money … I have accounts in Switzerland, Luxembourg, and the Isle of Man.”

Ah, she’s rich. OK then, she can live. But, she has to kill her torturer [whom she had already begun to torture before they interrupted her] as a condition. Another agenda is embedded, that of divisive feminist propaganda. The kind that’s reduced courting to a combat strategy. {*4} He [predictably] goads her: “You’re a stupid fucking cunt!” She grabs his penis and cuts it off [vividly displayed, even with close-ups], ripping out the remaining flesh and meat her scissors missed.

“Let him bleed to death,” she quips, throws his penis to the dogs, and sashays out the door. And I do mean “sashays.” Head held high. The torturers stepping back to let her pass, all staring at her with dumbstruck awe. Teenage mind-fuck cumplete!

Notable Aside: For any naive enough to believe the MPAA was ever created to “protect” one’s children, instead of as a tool to stop political incorrectness or truth-telling [a worthwhile research topic], I ask you this: Why is that should you show a woman kissing or fondling a penis, you get an X-rating [as has been the case in some serious European art films that come over here and get edited down], but you graphically show one being held (for the purpose of emasculation), cut and ripped out of its living screaming victim, you get a friendly “R?”

Now, this “meme,” which I think we can call it that, thanks to the media force feeding the [appropriately named] John Wayne Bobbitt story to us several years ago. Through a few other symbolic mediums [e.g., an end goal of women’s lib movement being symbolic emasculation], the theme has been repeated [see Fight Club Revisited]. Kudos to another mind-fuck film (Beast with a Billion Backs), for depicting act in a clever and less graphic manner [see Crafty Tentacles of Love]:

I won’t share Mr. Roth’s depiction as it is far too graphic, though arguably, Tarantino’s; the latter seems so fascinated with the topic [he depicts himself losing his own genitalia in the movie Grindhouse.] But the Hostel scene, should one contemplate its potential for subliminal [arguably, superliminal] impact on the vacuous mind of the average brainwashed teenage [target audience] girl [who’s media-programmed raison d’être is mindless mimicry] is disturbing to say the least.

The only thing missing from this scene was a chorus of black girls snapping their fingers and shouting “you go girl.” It was like watching Molly Ringwald in Sixteen Candles [or Pretty in Pink, take your pick], after she tells off the “bad” guy and everybody starts clapping for her, having gained new respect for this “nobody.”

Looking back on the “teen genre” of those days [with new eyes], I would be a fool not to consider whether we were being programmed also. It’s incremental. You could not have put this penis removal out [in the mainstream] back then. Just looking at the posters for the two aforementioned Ringwald “coming of age” films, it should be pretty obvious what we were being sold. Though, it was disguised in the package of poor girl/ugly girl rises above. We were being sold one thing: sex.

Isn’t she “pretty in” PINK? She is all in pink. Her virginal vagina is pink. Wouldn’t it be PRETTY IN [pretty nice to be in] her soft wet pink spot? “We’re in the pink!” Two lovers kiss over sixteen candles, all taking place inside her heart vagina. Oh, how many more ways can they try and sell us nubile underage women?

These “innocent” coming of age films, were far from it. She’s ALL THAT? All what? Ah, all those personalities [three shadow alters behind her]. Hm, her dad was a delusional traumatized Vietnam (¿Project Phoenix?) veteran. Even Not Another Teen Movie had to make fun of the premise a girl could go from ugly duckling to prom queen just by taking off her ponytail and glasses. That’s because, Freddie [her “Disney” PrinZe Charming] was her trigger to switch personalities as well.

The Last American Virgin movie was at least a little more honest about what its “coming of age” film was about (though again, the poster is a little more direct). V as in Vagina [¿V for Vendetta: confusing sex with violence?]. V as in Virgin. V as in Vulva. “Don’t you want some teenage pussy?” No, we didn’t say that. What we meant to inform you was: “Boys and girls grow up and learn about life.”

Aside: My research indicates that Hollywood has always been about, and was arguably, created for the purpose of social engineering [back-linked]. I would surmise we must be approaching some dystopia (i.e, not a utopia), as the ratio of “entertainment” to programming has gone form 80/20 to 20/80. To the credit of these older films, at least there was some creativity in them, (the reason for the decline of which I’ve detailed before).

At least the below [left] um, remake, seems a little more honest about what they’re selling us [albeit, an alternate “hole”]. The original Fast Times just showed you the breaking of the virginity seal, built around an amusing story about Stoners.

But, we’ve come a long way since those days of feigned innocence haven’t we? Today’s films are an all-out assault on the psyche. “Sex and violence,” shout morally bankrupt do-gooders like Tipper Gore [trust me, their proposed rating system, like the MPAA, won’t target Disney’s superliminals]. All the meanwhile, the real agenda is to further blur the line between sex and violence. That topic probably deserves a blog of its own, but the below [and above] images say plenty.

The first film may as well say “Tarantino” on the cover [whether they were inspired by him, or put the movie out before he could steal the idea, is anyone’s guess]. The middle image (a) should force one to ask why emphasize the breasts in the poster and (b) syncs with a great article from Pseudo-Occult Media, “Britney Losing her Mind Trapped inside an Elevator” [incidentally, read same day I found the pic].

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The last image is from the Saw series of trauma-based mass-mind control (or social engineering). I “saw” the first two, but couldn’t stomach my way through the latter ones. I tried to make en effort as part of my “embedded cinema” research, but had to turn them both off. A case could be made the penis resonant “i“ and the vagina resonant “v“ combined with violence adhere to the agenda I mentioned above.

Back to influencing today’s teens, let’s look at everyone’s favourite new innocent movie sweetheart, Ellen Page. Again, the “eLLe” sygil. Again, brainwashing agendas posing as “slice of life” or “good girl takes on bad guy” stories. I will argue that Hard Candy and Juno, are basically the exact same movie. The below image, on its own, demonstrates, that should one watch both films with their eyes “open,” it will be difficult to see the line where one ends and the other begins:

In the former movie, she entraps and drugs a suspected pedophile, then coldly prepares him for castration [safe to assume she’s had no surgical training]. But, then she has a change of heart and instead talks him into suicide. While the film feigns noble purpose, shouldn’t a rational mind find the thought of some bubble headed MTV-viewing gender-confused emotionally-unstable 14 year old girl declaring herself judge, jury and executioner more than “a little” disturbing?

INLINE FEEDBACK: If this movie were “really” an anti-pedophilia statement, than why not have the alleged victim’s family seek retribution? Think critically dammit! Why have some disconnected underage girl strip, fondle and “torture” the guy? Because it’s wanking material for pedophiles, masochists and submissives. Ugh!

Despite all the hoopla [and its hard-to-resist charm and cutting-edge soundtrack, the Juno film only continues the Hard Candy theme with a back-pack full of additional social engineering agendas. A teenager [whose mental age is far from being anywhere near the intellectual level and depth of her scripted words], gets herself pregnant by some guy who can barely tie his own shoes together, and somehow seduces an older man by proving herself to be more of his intellectual and spriritual equivalent than his pathetic materialistic feminist wife.

Is anyone with a functioning brain actually supposed to digest the script? Alas, she “chooses” the mental equivalent of an eight year old. At least, in the 80’s teen film Lucas [a reverse about a 16yo boy with body of an 8yo, but a mature mind], “the girl,” while breaking Lucas’ heart, remained true to herself. The feminist, starts her own life, with her new baby, and no useless man around.

Note: If this “Juno” character is so “smart,” what is she doing feeding her baby a toxic chemical stew of junk food and Coca-Cola? Cause she’s a clueless consumer!

The only true “rebel” in the whole film, the one trying to get off the hamster-wheel, rediscover his soul and turn his back on media-programmed societal mores [i.e., be a good corporate robot slave, become indentured to the banks for a lifestyle you can’t afford, live with a soulless woman who doesn’t even care to know who “you” are], while guilty of bad judgment (were we to believe the impossible dialogue) is demonized and [symbolically] castrated. This film should only be shown on airplanes, where a vomit bag is readily available [¡note undies color and wait!].

On the positive side, those who tenuously hang-on to the notion the Oscars are rewards for some kind of artistic endeavor … between Juno winning “Best Original Screenplay” and Al Gore’s last bowel movement, An Inconvenient Truth, winning “Best Documentary” … will have to confront reality; the Oscars are given to the best propaganda pieces of their time and the most convincing social engineering roles. The hidden masters know what worthless baubles to reward their minions with [on occasion, the recipients confess what made them so deserving].

Others have written on the topic of Ellen Page syncs. I’d recommend the following:

• Following Hugh Jackman Through the Atlantean Stargate (The Blob)
• Juno It’s all in the Stars (Atlantean Times)

Worth a note (not necessarily a full read) are two subconscious mainstream syncs:

• In Ellen Page is the next Molly Ringwald. And the next Johnny Depp, too she’s quoted, “I was obsessive about getting this role.” Yes, that’s how mind controlled people feel after their programming is “triggered.”

• I am the Octopus: Ellen Page on “The Breakfast Club” says “Juno is stylized realism.” “Real” because Teen Vogue said [above]? Where’s that vomit bag?

The images below [+ the above two] say plenty about themes discussed within this article. Little red riding hood: references to the clitoris and the Virgin Mary. {*5} Temptation combined with danger warnings. Hints at duality (the stripes) combined with the red bow [arguably, the hymen, ready to be broken’/unraveled and bleed]. Pink covered with swirls of red and white? [¡Ew!] More blood and semen. Heath Ledger! Finally: androgyny [¿doesn’t it look like her lower torso’s been reversed?].

Debatably, paedophilia and androgyny go hand in hand. Sensible psychological evaluations of pedophiles are concluding their desires are rooted in repressed homosexuality. Reading Nabokov’s Lolita [instead of allowing some director’s modernized vision or some talking head’s interpretation form your opinion] one could infer that what attracts these wolves is the lack of feminine, combined with suppressed masculine features [look at the Catholic Church’s biggest recurring, and rerecurring, problem]. Coincidentally, her next film is entitled Peacock [syncs with two previous musings: “From the Mouths of Dolls” and “Mo[o]re Cock“].

Now I’ve done it, here I am deep in the rabbit hole, a journey I previously tried to avoid. This article wasn’t meant to be about 80’s movies, teenage she-males, or priests buggering young boys. It is about emasculation (a theme with which Ellen strongly resonates, forcing a reverse symbolic sync with another Ellen, Barkin, in the GENDER B[L]ENDING Switch) and its presenter de jour: Quentin Tarantino. “QT” is obviously trying really really hard to endear himself to the powers that be:

Ah, a little trauma based reminder of the Church’s Christian Crucifixion of the Savior theme. Could you guys have included perhaps a few more hammers [triggers] in the scene? {*6} Speaking of which, I had not grasped the [deep] impact of the Crucifixion meme on the minds of [previously innocent] children until I dropped in on some Christian neighbors watching the Gibson snuff-film extraordinaire The Passion. The mother came to the door guffawing and sobbing uncontrollably.

I nearly panicked. “What’s wrong? Are the children OK?” Oh, never mind. They were gathered around the television watching Mel Gibson’s tale of inspiration and hope. Since that night, I’ve grown speculative of the “Gibson versus the Jews” narrative. Whether little Eli or Quentin staged the above scene seems moot. Executive producers ultimately decide what gets added to or stays in ANY film.

So, Question #2 for you Tarantino is, have you endeared yourself to your masters after all your hard work? Did you get invited to the Davos Conference alongside rock stars Al Gore and Bono? Didn’t think so. While a useful tool, you’re still not allowed to sit at the big table. Per chance, have you bothered looking at [real] history to learn what happens to master’s faithful servants once his agenda succeeds?

Since you’ve been kind enough to show me what mankind’s future may hold [after the predictive programming effects of your movies start to shape the public mind, leading to all sorts of intentional and unintended consequences], I will return the favor. Let me be kind enough to show you yours [see photos above]:

But, what do I know? All I do is look at patterns, especially recurring ones, meanwhile casting off all the programming [false history and identity, as dictated by television, movies, and indoctrination disguised as education]. What’s certain is that those who help put corrupt regimes into power, are ALWAYS expendable and ALWAYS considered a liability (they know too much). The Night of the Long Knives and the Bolshevik [bull-shit-vik] Purges are only but two recent examples.

Some [¿perhaps you?] may argue that I’m overreacting, or perhaps just turned off by the “horror” genre, and they’d be wrong on both counts. There are masters of the genre, who films use “horror and gore” as a cover for social commentary. John Carpenter comes to mind (to a certain extent). The term “master” could definitely be applied to George Romero, someone I plan to devote serious blog space to.

Note: I’d recommend his latest, Diary of the Dead; one of the most honest and illuminating films put out over the last few years. Need to start refocusing on the positive after the last three forays. There’s good in exposing, but I don’t wish to get mired in reactive mode; tired of crawling through rabbit holes filled with shite.

But, this crap? Trauma-based social engineering disguised as gross-out teenage horror. This is just pathetic. If the MPAA wasn’t so agenda-driven, both Juno and latest Hostel film would have received the only rating appropriate: “This film shouldn’t be viewed by anyone.”

 

Disclaimer: This article was written at an earlier stage of my development, thus it may contain a few key points which do not necessarily reflect my present belief set.

 

*1: Reservoir Dogs is arguably a remake of City on Fire. Tarantino’s trail of bread crumbs leads to the French New Wave is a very gentle treatment of his “homage” and “borrowing.” But, even going so far, with all the scripts out there, to steal your latest from students seeking your help? “I steal from every movie ever made,” you say? What about those yet to be made? [LB]

*2: I didn’t want to side-track, but as I’ve been discussing recently, there is one other path to stardom. Being born into it (not that it will save you from the knee-pads if you’re cute). But, as others and I are surmising as of late, they fall into the realm of prostitution.

Of recent news Corey Haim (of Lucas, mentioned herein) and co-megastar of the time Corey Feldman. Both Jewish (see “4” below). This linked article, like most media who know nothing of mind control, fails to make the obvious link that Corey’s “assistant” was likely his “pimp/handler.” [LB]

*3: I think I’ve uncovered another strange, yet revealing sync. Googling “3000” plus your pick of telling phrase reveals just the tip of a massive synchromystic ice-berg:

“3000 children go missing daily in USA,” “Florida DCF loses 3000 children in its care,” “Hawaii puts out a press release looking for 3000 children,” “Local Marines say 3000 dead [is] Price of Freedom,” “3000 children become addicted to tobacco every day,” “3000 children in Africa die from malaria every day,” “Moses [Akhenaton] sacrificing 3000 Israelites after the [ahem] exodus,” “Mystery Theater 3000: The Final Sacrifice, “3000 migrants dead: Does anyone care?” and the wackiest yet most poignant for last, “How can 3000 goats be sacrificed in a temple?”

Back-Link: Since this was noted, I have gone on to write an investigative article on the topic [Sep 2008: “3000 Bells are Ringing!”]. [LB]

*4: A relative has a bizarre fascination for watching Lifetime, WE, and Oxygen. Spend just a little time watching those channels, and see men portrayed as one-dimensional rapists, con-artists and [god-forbid] cheaters! Rather then look at complex interpersonal arrangements and programmed unrealistic expectations, we get divisive bullshit, and the resulting effects on our [and, even my] sex lives. Probably worthy of an entire article. [LB]

*5: OK, wasn’t even looking for this. Wondered if Ellen Page was Jewish. Yes, she is. Molly Ringwald is also, obviously. So, a little research later, turns out Rachel Leigh Cook and Jennifer Jason Leigh are too. So’s Ally Sheedy (exemplary 80’s teen movie queen mentioned in one of the fluff articles). Is every single one of the female leads from every single teen movie discussed in this article Jewish? What are the odds of that? [I’m beginning to surmise 100%.”] The only one left, is Diane Franklin (from LAV). I would guess so. Seeing that most Jews in the world are Ashkenazi, we could surmise that too. Lift a rock. Find a Jew. Lift a rock. Find a Jew. [LB]

*6: It must be hammer-time. Let me share with you a little sync-filled day in the life with yours truly. As I’m sitting on the lap-top, my sister comes by asking what I’m doing (I showed her the referenced picture). “That’s weird,” she says, “my ex was just telling me a story about some guy in his town who killed all these people with a hammer.” A few hours later, some neighbor stopped by the house to ask if he could “borrow a hammer.” Back at my house, getting ready to retire for the night, was spending some time watching that propaganda-filled materialistic piece of crap film called “21,” and caught a scene where someone [played by Laurence Fishburne; the better half of Tarantino’s made-man, SamuEL EL Jackson] threatens the lead, that they’ll “crush his cheekbone with a little ball-pin hammer.”

A friend mentioned the “The Hebrew Hammer” cartoon character and wondered was it yet another subliminal little “fuck you” directed at Christians? Maybe Sarah Silverman can enlighten us? I had touched on the “character” in a prior blog, but failed to make the connection. Probably, because it wasn’t “hammer-time” yet. 🙂

Afterthoughts: the Soviet hammer [and sickle] used to suppress Christianity, meanwhile wiping out between 20 to 80 million Christians (linked article is on the low side, but an honest admission from a Jewish source) during its reign of terror. If you listened to the included Bill Hicks rant, one of Satan’s “suckers” was, in fact, MC Hammer. [LB]

~ by celticrebel on July 23, 2008.