‘The Genocide in Democratic South Africa’

Conflict, South-Africa

“They are conservative, Christian Caucasians, a fact that might help explain why the fashionable left in the West doesn’t much care that they’re being exterminated.

The Boers —or farmers —of South Africa have tilled the land for generations, on small holdings or on large commercial farms. But orgiastic killing sprees by The People, in combination with a Stalinesque land grab by their representatives, is threatening this minority’s survival.

Not to mention making life an inferno for farmers across the country!”

The excerpt is from this week’s column, which was originally titled “The Kulaks of South Africa,” but was changed to “The Genocide in Democratic South Africa,” because too many Americans don’t know who the Kulaks were. The column describes, graphically, what Genocide Watch agrees is a process that comports with genocide. As I promised, I don’t intend to let the issue die down. I urge you to send the column on to people you know.

Borat's Golden Globes Vision

The Zeitgeist

Once again, Sacha Baron Cohen lampoons all the serious stuff that has been penned about “Borat: Cultural Learning Of America For Make Benefit Glorious Nation of Kazakhstan.” Sure, his crudity is a little hard to take, but he’s so brilliantly, disarmingly funny (and gorgeous, if you ask me. How such a dish transforms himself into Borat and Ali G. is, in itself, the stuff of great comedy). Over to Cohen’s Golden Globes acceptance speech, transcribed on “Blogging about the Reel World“:

“I want to thank the Hollywood Foreign Press. And I just want to say that this movie was a life-changing experience. I saw some amazing, beautiful, invigorating parts of America. But I saw some dark parts of America, an ugly side of America. A side of America that rarely sees the light of day.

I refer, of course, to the anus and testicles of my co-star, Ken Davitian.

[Davitian shrugs and raises a wine glass]

Ken, when I was in that scene and I stared down and saw your two wrinkled golden globes on my chin, I thought to myself, ‘I better win a bloody award for this.’
And then when my 300-pound co-star decided to sit on my face and squeeze the oxygen from my lungs, I was faced with a choice: Death or to breathe in the air that had been trapped in a small pocket between his buttocks for 30 years.

Kenneth, if it was not for that rancid bubble, I would not be here today.
[Music starts-up]

Thank you to Larry Charles, thank you to Jay Roach, thank you to Isla Fisher, my fiancée. Thank you to Peter Baynham, Anthony Hines and Dan Mazer; thank you to Ari Emanuel; Matt Labov; Erran Baron Cohen, my brother who did the music; and to Jason Alper. And thank you to every American who has not sued me so far. Thank you.”

Sacha Baron Cohen 2007 Golden Globes

Borat’s Golden Globes Vision

The Zeitgeist

Once again, Sacha Baron Cohen lampoons all the serious stuff that has been penned about “Borat: Cultural Learning Of America For Make Benefit Glorious Nation of Kazakhstan.” Sure, his crudity is a little hard to take, but he’s so brilliantly, disarmingly funny (and gorgeous, if you ask me. How such a dish transforms himself into Borat and Ali G. is, in itself, the stuff of great comedy). Over to Cohen’s Golden Globes acceptance speech, transcribed on “Blogging about the Reel World“:

“I want to thank the Hollywood Foreign Press. And I just want to say that this movie was a life-changing experience. I saw some amazing, beautiful, invigorating parts of America. But I saw some dark parts of America, an ugly side of America. A side of America that rarely sees the light of day.

I refer, of course, to the anus and testicles of my co-star, Ken Davitian.

[Davitian shrugs and raises a wine glass]

Ken, when I was in that scene and I stared down and saw your two wrinkled golden globes on my chin, I thought to myself, ‘I better win a bloody award for this.’
And then when my 300-pound co-star decided to sit on my face and squeeze the oxygen from my lungs, I was faced with a choice: Death or to breathe in the air that had been trapped in a small pocket between his buttocks for 30 years.

Kenneth, if it was not for that rancid bubble, I would not be here today.
[Music starts-up]

Thank you to Larry Charles, thank you to Jay Roach, thank you to Isla Fisher, my fiancée. Thank you to Peter Baynham, Anthony Hines and Dan Mazer; thank you to Ari Emanuel; Matt Labov; Erran Baron Cohen, my brother who did the music; and to Jason Alper. And thank you to every American who has not sued me so far. Thank you.”

Sacha Baron Cohen 2007 Golden Globes

Corrected: Jack Bauer: State Zombie, Not Bitch

Hollywood, The Zeitgeist

I’ve enjoyed previous episodes of “24.” They were good action, no more, no less. I had a hard time sitting through the 4 hour premier broadcast. (Okay, not that hard.) I kept waiting for a correction in the program’s tenor. No such luck.

Bauer was kidnapped and imprisoned by the Chinese. The American government lost interest in him for about two years, but quickly regains it when a new terrorist appears on the horizon. He promises to stop suicide-bomber attacks on American cities in exchange for Bauer, who killed his brother in better times.

Bauer, fresh from Chinese torture, is only too happy to give his life for the Greater Good. As he is being turned over to his new owner, chained like a dog to a fence (the government doesn’t trust him, even though you’d think his dog-like loyalty would have, by now, convinced the Top Dogs), he mutters about the approaching meaningful end. This guy never tires of being used and abused by successive governments. Some individualist.

What really sickens in this series —other than how Bauer turns appeaser of terrorists, and worse —is the depiction of the aggression ordinary Americans allegedly direct at American Muslims. Some even break down their Muslim neighbors’ front doors and beat them up. Certain Hollywood themes are here to stay.

Also, in real life the typical Islamic organization —take the Council on American-Islamic Relations (CAIR) —is full of dissemblers and defenders of terrorists. Ordinarily, these are media-savvy mouthpieces for militant Islam. “24” recasts the head of such an outfit as their new, true patriot.

To top this fiction up, Jack becomes attached to Assad, a reformed terrorist, now wanting to “enter the political process” (that cliché has really taken off). Jack wrangles immunity and a pardon from the president for his new consort.

But the point at which I removed myself (admittedly near the end; I’m weak) was when, to save his pet terrorist, Jackass shoots Curtis Manning, director of Fields Operations. Curtis is a moral, ex-military, man; he doesn’t buy this amnesty business. During Desert Storm (I think), Assad had captured and beheaded a few of his men. Curtis thinks that son of sixty dogs needs killing. Jackass chooses to shoot Curtis in order to save Assad. He then whimpers something about not being able to do this any longer.

Jack murdering a good man and a colleague to save a career killer, the saintly American Muslim organization, the saintlier reformed terrorist (modeled, no doubt, after Mahmoud Abbas), the mean Muslim-hating Americans —it all added up to a script Jimmy Carter would have approved.

Other fatuities and disappointments: Hollywood retains its mythical, infantile concept of computers. Seat a PC savvy type in front of the screen, and, evidently, there is no end to the information he or she can squeeze from the thing. That’s plain rubbish. And, CTU’s Chloe O’Brian has lost her famous furrow: it’s been botoxed away.

Count me out of the Bauer frenzy. I’m looking forward to the new season of The Shield. It doesn’t have 24’s hysterical, frenzied pitch, but has plenty of action, sports absolutely no bimbos (I’ll watch another episode of “24” if Jack Bauer’s daughter, Kimberley, is bumped off), has created some very interesting, complex characters, which are acted very ably.

Update: Constant camera wobble, now that’s another headache. Camera wobble is very much in vogue in all these productions. A reader brought it up in the Comments Section.

Updated Again: One of Larry Auster’s readers has become the second person (that I know of) to notice the leftist subtext of the series “24.” Everyone else is gushing indiscriminately. Let me parse the latest biases:
One of the central heroes, can’t recall who, asserted in the last episode that we are alienating the very community upon which we depend to fight terrorism. There is some heavy guilt-tripping on that front. (Read here how “indispensable” that community has been.) I predict that in the next episode we may see Jack visit a mosque as mea culpa.
Some of the central villains are … American businessmen. In fact, terrorism plots keep leading to … Americans.
Jack nearly kills his brother, who apparently richly deserved it for selling nuclear material to terrorists. Happens all the time. When Jack fails to complete the job, Pater completes it for him, but for reasons less noble!! Fratricide, patricide —it’s all in a day’s work for your average, dysfunctional, American family, at least as Hollywood sees it.

Correction: James Merritt writes:

“My wife and I love ’24,’ but we don’t call it by that name. For us, it is ‘Jack Bauer: Federal Zombie.’ He is the unstoppable, undead agent who has actually been killed and brought back to life, in service–and thrall–to the State. Instead of the ‘brains’ that normal zombies seek, the Federal Zombie feeds on ‘intelligence.'”

I agree about the PC-ignorance. In early seasons, the PCs used by CTU were Apples, even though Apple Computer had a negligible penetration within the Federal Government, and almost none at all within the security services.”