music, ny moral #1, quotes

>Music that matters: Brainbombs

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I’ve been a fan for quite some years now, and I still get damned scared and mentally disturbed when I put on a Brainbombs album. Not to forget: I get totally mesmerized. I think it’s that combination, that enchanting horror, which constantly draws me closer to Brainbombs.
Because this is some seriously weird shit, I tell you.

The music consists of the totally degenerated sounds of guitars being thrashed to death, decibel destruction galore, with absolute deadly distortion, pacing back and forth, in and out of context. The vibe is that of a smelly toilet clogged with piles and piles of sick porno mags drenched in old sperm and vomit, chunks of dissolving human flesh on heroin spoons and insane screaming old men in pain gnawing their dirty long nails on the blood-splattered walls. Only you cannot hear the screams. Sometimes you hear a trumpet. Something like that. Truly negative vibes. The drums get a hold of your heartbeat and then slowly drain all life. The monotony is forever. Out of this thick dirt wall of noise rock guitars and hammersmashed drums and everyday darkness comes the voice of the real Satan, proclaiming in a moderate tone – without power, without soul, with slight retardation – the most vicious poetry put on tape. Peter Sotos would have been proud. The artwork adds to the delirium – sometimes clean as a newborn baby cunt, sometimes soiled with the filth of adults. I’m sorry I wrote that cunt thing. Brainbombs made me do it. Sotos made Brainbombs do it. Humanity made Sotos do it.

But in the end it’s only rock’n’roll. The very core of Brainbombs is that noise-drenched riff. Simple. Pure. Genuine. Complete. They put it best: Genius and brutality. Taste and power. Whatever that means?
I guess it means what you make of it. Because when listening to Brainbombs, sooner or later you’ll have to ask yourself: Why am I listening to this? The lyrics are about raping and killing prostitutes and children, they are about torture, sodomy, murder – all written in a descriptive realistic way, not at all funny, never humorous but just really disgusting and frightening, exploiting in detail the darkest side of humanity. Why are we listening to this? Why are their lyrics like that?
To me, it’s that enchanting horror again. To me, real culture should make an everlasting impression. Brainbombs achieve that – only they do it in a dirty, negative way. Who said art should be beautiful?

Two members of Brainbombs were also members of the band Totalitär, a band which is very popular amongst the crust-, hardcore- and punk PC-militia. I wonder if Brainbombs is accepted by these people because of the Totalitär connection? Maybe the Totalitär fans aren’t even aware of Brainbombs? It’d be interesting to hear them out. Next time I see a patched up punk I will ask.

Four years ago I wrote some notes about Brainbombs in the paper edition of Ny Moral #1. It went a little something like this:

Jag har ingen aning om hur snubbarna i Brainbombs ser ut. Bara det gör att de är ett av Sveriges främsta band – på en hel mängd plan och utan att överdriva det minsta.
Den här fixeringen vid hur ett band ska se ut gör mig så jävla förbannad… Ni kan pierca era näsor, tatuera era arslen och brännmärka era fontaneller tills ni ser ut som jävla julgranar, men gör ni inte bra musik hör ni inte hemma någonstans. Överflödig, andefattig musik är det värsta jag vet.
Efter att ha slukat en stor mängd Brainbombs-låtar (jag har lagt in allt de gjort i en fet Winamp-playlist) känns det som alla andra så kallade rockband kan dra åt helvete relativt omgående. Dock har det varit en svår process att få in Brainbombs i min lilla svartskalle.
Fascinationen för de morbida texterna och den så rått fragmentariska grafiken har funnits där sedan dag ett, likaså beundran för den totalt hängivna sången. Den sterila, men ändå livs levande, produktionen icke att förglömma eller förakta. Det är själva musiken som har varit svår. Och den förbannade trumpeten.
Jag tror det var under en feberknäpp en sen aprilnatt som allt föll på plats. Nästintill livlös och svettandes under dubbla täcken malde jag Brainbombs låtkavalkad nonstop i säkert sex timmar. Läsandes texter som ”I detta satans rum ligger någon på en bädd av blod och skriker”, ”I kill Anne Frank, open her like a butcher”, ”You’re a sexy bitch, but you stink” och ”Sixteen years old, fucks like a whore” så föddes min fascination.
Har upptäckt att Brainbombs funkar bäst under sjukdom.
Att texterna är svinigt influerade av Peter Sotos är lätt att se. Att de maler likt mantran gör det än mer fascinerande. Det här är inga ord som göms bakom poetiska dimridåer. Det här är ord som får en att rygga tillbaka med skräckblandad förtjusning. De psykotiska meningarna som avlöser varandra har någon slags mystisk dragningskraft. Genius and brutality. Men med tanke på att folket i Brainbombs härstammar från Hudiksvall och verkat i Uppsala kanske texterna känns mer relevanta om man främst sätter dem i ett amerikanskt perspektiv. Det är som sagt Sotos som inspirerat.
Hur beskriva musiken? Trasiga gitarrer, taktfasta komp, långa, monotona stycken, sällan mer än två riff per låt. Även på låg volym är det ganska störigt, och trots de få ingredienserna kan det säkert uppfattas som stökigt. Sången pratsjungs med en stel, högtravande röst som trots det rymmer en jävla känsla och kyla. Att höra Peter sjunga ”Starting to masturbate, into the child’s face” är en ondskefull upplevelse, och man är nog smått sjuk på riktigt om man inte någon gång under färdens gång frågar sig vad fan det är man lyssnar på. Cannibal Corpse må skriva liknande lyrik, men Brainbombs känns allvarligare än så.
Det som kan störa transen man försätts i efter idogt lyssnande är den satans trumpeten. Den poppar upp och väcker en från dåsigheten. Inte bra. Men kanske nödvändig ändå. Måhända fungerar den i alarmistiskt syfte.
Ett gäng släpp har dessa fyra herrar bakom sig, och mer tycks komma. Mycket av det de gjort är dock samlingar där samma låtar återkommer gång efter annan, och sådant hatar jag. Samlare som man är så tvingas man punga ut med pengar för porr man egentligen inte behöver. Så funkar materialismen, men i fallet Brainbombs känns det viktigt på något löjligt vis. Dyrkan kan anta skrämmande proportioner.
Den ultimata (och enda?) Brainbombs-siten, Genius and Brutality – Taste and Power, hittas här: http://anka.dyndns.org/brainbombs/
Idioter som tycker att Tomas Ledins Sommaren är kort är bra har givetvis ingenting att hämta i detta helvete. Ni kan ta era studentlägereldsspexiga låtar och era löjliga rättstämda guror och dra till ett annat hades.

Brainbombs are very much alive and kicking. They debuted with the songs I detta satans rum and Psychout kid on a compilation tape 22 years ago. 22 hours ago I got their brand new LP, Fucking mess, and it slays as always. They are like 44 years old and they slay yo mama. On December 12 they play live in Paris.

Check out Skinned alive from the new album. And then read and worship on the ultimate Brainbombs site.

movies, music

>Wojciech Kilar, Dracula and Coppola

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I condemn you to living death. To eternal hunger for living blood.

Polish composer Wojciech Kilar made me do it. I believe his soundtrack to Francis Ford Coppola‘s amazing movie Bram Stoker’s Dracula (1992) is what got me interested in classical music in the first place, the kind that spawns darkness, uneasiness and black magick. As with the film, the music is a Wagner-esque operatic epic love story, spanning continents and centuries. The dark and brooding chords mixed with the voices of the damned sets the tone already at the beginning of the film – this is the renunciation of God accompanied by the sounds of the undead avenger. It’s nothing but a musical masterpiece.

Bram Stoker’s Dracula is often ridiculed for being overdramatic, and in a way that’s completely true, but what a lot of people don’t seem to understand is that it was purposefully created that way as a homage to the old and grand. This is Coppola’s interpretation. The acting is big, the music is big, the sets and costumes are big – this is opera in the flesh, and it all fits perfectly together. While Werner Herzog‘s Dracula, Nosferatu: Phantom der Nacht (1979), is more ”on location”, Coppola chooses a stage. This is highly noticeable in the theatrical dialogue as well.

She lives beyond the grace of God, a wanderer in the outer darkness. She is “vampyr”, “nosferatu”. […] We are dealing with forces beyond all human experience, and enormous power. So guard her well. Otherwise, your precious Lucy will become a bitch of the Devil! A whore of darkness! […] Hear me out, young man. Lucy is not a random victim, attacked by mere accident, you understand? No. She is a willing recruit, a breathless follower, a wanton follower. I dare say, a devoted disciple. She is the Devil’s concubine!

As for the special effects: if you know your film history you’ll be amazed. Coppola, with his son Roman Coppola and effects legend Michael Lantieri, uses classical film techniques to create the unique effects – optical matting, reverse shooting, lighting transitions. You name it, it’s all there. Jonathan Harker’s first travelling sequence is the first of many complex time transition sequences that breath life into what otherwise would have been some dead looking CGI effect. Darren Aronofsky – whose acclaimed new film The Wrestler is showing at the Stockholm Film Festival right now – did pretty much the same thing in The Fountain (2006), and it’s equally fantastic. Organic instead of plastic. Read more about the effects here, and check the In Camera: The Naïve Visual Effects of Bram Stoker’s Dracula feature on the special edition DVD/Bluray.

Had it not been for the stiff acting of Keanu Reeves and Winona Ryder (some people claim that was done on purpose as well, but I still haven’t found anything from Coppola saying so), and some lagging in the second act – the love story with Mina and Dracula, as well as the not so impressive ending, I would rate this film 10/10. Now I’ll go for 8/10. As for the music, there’s no doubt: 10/10 all the way.
There is a special concert version of the soundtrack available on The Pirate Bay, described as an attempt to ”arrange the music in a form which one might hear in a symphonic concert setting rather than as action accompaniment. It is a single movement, much like the tone poems of Liszt, Tchaikovsky, or Rachmaninoff (Isle of the Dead), just to name a few. The emphasis is on a coherent musical narrative, offering a compelling listening experience without any reference to action in the film.”
Download the special version here.
Download the original soundtrack here.

Listen to the opening theme (the best audio quality I could find):

literature, politics

>Ezra Pound

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“Nothing written for pay is worth printing.
Only what has been written against the market.“

Ezra Pound (1885-1972) once said of poetry: ”It is the dance of intelligence among words”. He dismissed most of the poetry he read as ”rethorical din crippled by painted adjectives and emotional slither”. His friend Wyndham Lewis, novelist and painter, wrote that Pound was ”a pedagogic volcano whose molten matter was language that seared through a tragic fracture in his personality, a broken seam of sensibility, releasing an uncontainable energy or an anger that could persist for thirty years”. Once, in Lewis’ Rebel Art Centre, Pound caused a stir when waving a flag that proclaimed ”The End of the Christian Era!”. He could never be fully trusted in polite society.
But Ezra Pound was a major figure in the modernist movement. He was its inspiration and, according to some, its sole establisher. Undoubtly, he was one of the immortals of poetry.


The years before World War I were very vital for Pound. He was occupied with his poetry, with journalism, with his work as editor of the journal Poetry, and with new writers like T.S. Eliot and James Joyce. When WWI exploded everything was shattered. Pound, recieving frontline reports from his friends, felt the best part of his generation had been ravaged by an absurdly wasteful war. Having begun his career with the studies of love poetry, now venom, antagonism and invective were to become equally important motivations for his own work.
He began to loathe Western civilization because it had no room left for its artists, and ”because it seemed systematically bent on its own extinction through warfare”. He hated the liberal modern state, where there seemed to be no strong leaders and where responsibility had become corrupted by insane bureaucracy. He also hated the influence of organized religion, and took as his models the two grand masters of hatred: Dante and Villon. He began to incorporate his anger and criticism in The Cantos, a booklenght long epic poem of 120 sections which was to become his lifework.

Pound, an American by birth, moved to London in 1908, and in 1921, dissatisfied with England after the war, he moved to Paris, and four years later to Rapallo, Italy. Here he became very interested in economics and he campaigned viciously against the Western banking system. He began to fear the preparations of yet another great war, ”a second instance of organized madness”, and he imagined Jews to influence political systems, the banking business and the weapon industries. He thought they would begin the next war to create a huge debt and new profits.
He began writing letters to American senators and congress men: ”Every man in high office is a thief’s accomplice”. He also campaigned against the obscenity laws affecting great literary works like James Joyce’s Ulysses. Of course, this was not a popular thing to do amongst the men of power. Even his closest friends began to protest against him.

When World War II was a fact, Pound ventilated his feelings of anger in a series of broadcasts on Italian State Radio where he – besides speaking of cultural matters – defended fascism, savaged America and incorporated what most would call anti-Semitism in his denunciations of the war. His radio rage was monitored by the FBI, and in 1943 he was arrested for treason by the United States government. He was incarcerated and isolated for three weeks in a very small wire cage, subject to broiling sun and searchlights all night. He was interrogated in an U.S. Army detention center where they usually dealt with troops who had raped civilians or disobeyed their officers. No one was allowed to talk to him, not even the guards, and from his gorilla cage he witnessed several inmates being shot to death in escape attempts. Finally, after weeks of fear, he ”believed something snapped” in his head, and he ”suffered a nervous breakdown”.
In Washington he defended his action as a ”protest against a system which creates one war after another, in a series and in system”. He refused to admit he’d been wrong.
Treason is punishable by death, and the U.S. government now faced a dilemma: Wouldn’t it be embarrassing if one of the world’s leading democracies executed one of its leading writers? But why should an artist deserve special treatment, even if he had contributed more than most to the general cultural level of the times?
The solution was to declare him insane.

In 1946 he was sent to what he called the ”Hell-hole”, a ward for lunatics in St. Elizabeths in Washington, D.C., an insane asylum where he was to be kept for the next twelve years of his life, from age sixty to seventy-two. He spent twelve years in the company of screaming men in straitjackets. Despite his suffering he continued writing The Cantos, which he had been working on since 1915. Now the themes of economics, governance, and culture were integral to its content. He also translated the Confusian classics while being held prisoner in this lunatic asylum.

He was often visited by a Library of Congress researcher named Eustace Mullins. Pound commissioned Mullins to write a book about the history of the Federal Reserve, which resulted in Secrets of The Federal Reserve. Pound believed that the bankers in charge of the Federal Reserve and their associates in the Bank of England were responsible for getting the United States into both World Wars, in an effort to drive up government debt beyond sustainable levels. He claimed that bankers hide behind the screen of the central banks and pull political strings to drive countries into the war, creating immense profits for themselves as the principal beneficiaries of wartime debt. Pound advocated an abandonment of the current system of money being created by private bankers.

“Wars are made to make debt.”

Released in 1958 after pressure from T.S. Eliot, Ernest Hemingway and Robert Frost, writers he had helped as critic and editor, he returned to Italy where he gave in to despair and depression. For the last ten years of his life he almost stopped writing and speaking, the man who had spent all his life doing just that: raging against the system in the name of poetry. The releaser of words spent his last ten years wordless. He died in 1972, two days after his 87th birthday, in Venice where he is buried.

The Cantos was never finished, but is nevertheless published. Still, along with the 794 pages long A Companion to The Cantos of Ezra Pound I don’t understand much at all… Even scholars claim that The Cantos is an extreme piece of work, and it is said that Pound himself got depressed when realizing he’d spent most of his life writing a poem few people would understand. What I understand, though, is that The Cantos is the work of a genius.


“I did not enter into silence, silence captured me.”

Besides being a poet, critic, author, journalist and editor, Pound was also a translator and composer. In Paris he composed two complete operas and several pieces for solo violin. Pound’s first radio opera, transmitted in October 1931 under the title The Testament of François Villon, was one of the first electronically enhanced operas to be broadcasted in Europe.
Personally, I have no understanding at all for this thing they call opera, but you may listen and judge for yourself at Amazon. More info at ezrapoundmusic.com.

Current selling prices for an original copy of Ezra Pound’s A Lume Spento (1908):
$45000-$90000 /£24000-£48000
More info at bookride.com.

art, politics

>Graffiti – Art Crime – JR

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The separation wall in Israel/Palestine.
Remember to click all images to enlarge!

This isn’t graffiti, but it’s part of the art crime scene and the idea is pretty much the same. Gigantic posters smeared all over, in your face, without authorization. Pretty much like commercials, except that graffiti ain’t trying to sell you anything, but to make you think.

JR is an art genius and a great photographer (he uses only a camera that he found once in the subway). His street art project Face2Face has resulted in the film Faces which has been broadcasted at the same period by the Israeli TV and the Arab channels. It is also presented by the International Festival of Muslim Films in Kazan as well as The UK Jewish Film Festival in London. This must be unique!
Here’s the description of the Face2Face project:

When we met in 2005, we decided to go together in the Middle-East to figure out why Palestinians and Israelis couldn’t find a way to get along together. We then traveled across the Israeli and Palestinian cities without speaking much. Just looking to this world with amazement. This holy place for Judaism, Christianity and Islam. This tiny area where you can see mountains, sea, deserts and lakes, love and hate, hope and despair embedded together.
After a week, we had a conclusion with the same words: these people look the same; they speak almost the same language, like twin brothers raised in different families. A religious covered woman has her twin sister on the other side. A farmer, a taxi driver, a teacher, has his twin brother in front of him. And he his endlessly fighting with him. It’s obvious, but they don’t see that.
We must put them face to face. They will realize. We want that, at last, everyone laughs and thinks when he sees the portrait of the other and his own portrait.
The Face2Face project is to make portraits of Palestinians and Israelis doing the same job and to post them face to face, in huge formats, in unavoidable places, on the Israeli and the Palestinian sides. In a very sensitive context, we need to be clear.
We are in favor of a solution for which two countries, Israel and Palestine would live peacefully within safe and internationally recognized borders. All the bilateral peace projects (Clinton/Taba, Ayalon/Nussibeh, Geneva Accords) are converging in the same direction. We can be optimistic. We hope that this project will contribute to a better understanding between Israelis and Palestinians.
Today, “Face to face” is necessary.
Within a few years, we will come back for “Hand in hand”.

JR has also done some amazing paste work in Rio De Janeiro and the favellas, as well as in London, New York, Brussels, Carthagene… Well, pretty much everywhere. Here’s a mixture of his stuff. Check out more at his website.

art, literature, philosophy, politics, quotes

>Zionism, Jews and conspiracy theories

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Ben Heine‘s take on The Lovers
(check the ABOUT PORN!!! post for the original painting by René Magritte)

This is where I stand today:

  • I oppose Zionism, not Jews.
  • The essence of Zionism is Jewish ethnic domination over Palestine.
  • Zionism is the real enemy of the Jews, since Zionism causes global anti-Semitism.
  • Some Israelis, Americans, Jews and Zionists are responsible for the situation I’m about to describe. Some are not.
  • Israel and Zionism have always been in the wrong throughout history. The wrongdoings of the Palestinians pale in comparison.
  • There are always grey areas, and I do not applaud Palestinian terrorism.
  • The modern Jewish State would not be in existence without the Holocaust having occurred.

Now that you know my point of view, let’s get on with the program…

Why is it that everytime Jews are criticized in discussions we get to hear that the ones with an opposing viewpoint are either conspiratorial or anti-Semitic? Even when Jews criticize Israel, the Israel lobby or the Holocaust industry (like Michael Neumann, Noam Chomsky and Norman Finkelstein do) they are most often labelled ”self-hating Jews” by the Zionists. Instead of discussing the main point we get to hear that type of whining bullshit. It’s nothing but a cowardly low way to avoid touchy subjects.
To dismiss a serious discussion by shouting ”conspiracy theory” is plain, simple and effective, though. The debate loses its credibility and its seriousness and the judeo-supremacists have won again. Nowadays there’s even a term called ”the new anti-Semitism”… Jeez. Try to learn the difference between anti-Semitism and anti-Zionism once and for all, will you? Opposition to Israel is not anti-Semitic. And since not all Jews are Israelis or supporters of Israel, to be against all Israelis or Israel is not to be against all Jews.
You need to get that into your brain if we’re supposed to have an honest and open debate.

Now, let’s look at your so called conspiracy theory. You know, just because people are constantly bitching about conspiracy theories doesn’t necessarily make them conspiracy theories.

How shall we adapt to the fact that Jews are overrepresented in the American banking systems (the Federal Reserve Bank)? What about AIPAC:s great influence – established through hard facts – in American politics? America’s financial and military aid in favour of Israel (Israel still remains the top recipient of US foreign aid world wide, Bush requested an aid budget of $20 billion dedicated to Israel in February this year…)?
These are just a few examples of very large Jewish overrepresentation and influence in the economic and political area. The question is, does the fact that these people are Jewish matter at all? Of course it does. That’s beyond doubt.
But that the lobby is working ruthlessly to benefit its cause is in itself not odd at all. That’s what lobby groups do. It’s about realpolitik, economic interests, power and influence. So why label it ”conspiracy” then? Why bitch about conspiracy theories when presented with obvious facts? Is Norman Finkelstein’s The Holocaust Industry a conspiracy theory? If you think so, explain to me how.

If people were sane they would laugh at this very strange urge the Zionists have to label everything that votes against them as conspiracy theories or anti-Semitic. Unfortunately, the majority of the people are insane, brainwashed and untaught and finds even the most tiny criticism towards Jews as racist and politically incorrect (I bet you feel a bit uncomfortable reading this article, right?), and in a society like that, being labelled anti-Semite is as bad as being labelled pedophile. Not good, so to speak. The Zionists know this and hence use the term anti-Semite all the time to easily silence the opposition.

Here’s what Noam Chomsky has to say about conspiracy theories, and you might as well apply this to the discussion about Israel, Zionism, the Jews, USA or whatever conspiracy you’re talking about:

Part of the structure of corporate capitalism is that the players in the game try to increase profits and market shares – if they don’t do that, they will no longer be players in the game. Any economist knows this: it’s not a conspiracy theory to point that out, it’s just taken for granted as an institutional fact. If someone were to say, ”Oh no, that’s a conspiracy theory”, people would laugh. Well, what we’ve been discussing are simply the institutional factors that set the boundaries for reporting and interpretation in the ideological institutions. That’s the opposite of conspiracy theory, it’s just normal institutional analysis, the kind of analysis you do automatically when you’re trying to understand how the world works. For people to call it ”conspiracy theory” is part of the effort to prevent an understanding of how the world works, in my view – ”conspiracy theory” has become the intellectual equivalent of a four-letter word: it’s something people say when they don’t want you to think about what’s really going on.
[…]
Every example of planning decisions in the society is a case where some people got together and tried to use whatever power they could draw upon to achieve a result – if you like, those are ”conspiracies”. That means that almost everything that happens in the world is a ”conspiracy”. […]
Every business decision, every editorial decision is a conspiracy. […] Okay, obviously that’s not interesting: all decisions involve people. So the real question is, are there groupings well outside the structures of the major institutions of the society which go around them, hijack them, undermine them, pursue other courses without an institutional base, and so on and so forth? And that’s a question of fact: do significant things happen because groups or subgroups are acting in secret outside the main structure of institutional power?
Well, as I look over history, I don’t find much of that.
[…]
This term ”conspiracy theory” is an interesting one. For example, if I was talking about Soviet planning and I said, ”Look, here’s what the Politburo decided, and then the Kremlin did this”, nobody would call that a ”conspiracy theory” – everyone would just assume I was talking about planning. But as soon as you start talking about anything that’s done by the power in the West, then everybody calls it a ”conspiracy theory”. […] The guys in power aren’t idiots, after all. They do planning. In fact, they do very careful and sophisticated planning. But anybody who talks about it, and uses government records or anything else to back it up, is into ”conspiracy theory”. […] In other words, as soon as you describe elementary reality and attribute minimal rationality to people with power – well, that’s fine as long as it’s an enemy, but if it’s part of domestic power, it’s a ”conspiracy theory” and you’re not supposed to talk about it.
[…]
There is just no doubt that a lot of very conscious planning goes on among intelligent people who are trying to maximize their power. They’d be insane if they didn’t do that. I mean, I’m not telling you anything new when I tell you that top editors, top government officials, and major businessmen have meetings together – of course. And not only do they have meetings, they belong to the same golf clubs, they go to the same parties, they went to the same schools, they flow up and back from one position to another in the government and private sector, and so on and so forth. In other words, they represent the same social class: they’d be crazy if they didn’t communicate and plan with each other.
[…]
Now, the only significant question to ask is, is it intelligent planning? Okay, that depends on what the goals are. If the goals are to maximize corporate profits for tomorrow, then it’s very intelligent planning. If the goals are to have a world where your children can survive, then it’s completely idiotic.
Noam Chomsky, Understanding Power

As for the connection USA-Israel-Zionism-Holocaust I recommend the following books, they are essential reading when trying to understand the importance of this gigantic problem.
The Case Against Israel by Michael Neumann
The Holocaust Industry – Reflections on the Exploitation of Jewish Suffering by Norman Finkelstein
The Israel Lobby and U.S. Foreign Policy by John Mearsheimer and Stephen Walt

You might also want to read The Case For Israel by Alan Dershowitz and The Case For Peace by the same author – but then you’ll be forced to read Norman Finkelstein’s response as well: Beyond Chutzpah – On the Misuse of Anti-Semitism and the Abuse of History…
If you are brave and have an open mind and do not back away from the politically incorrect you should also try Kevin MacDonald‘s The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements.
Also check the True Torah Jews Against Zionism site.
Interesting article: “Over 10,000 Orthodox Jews protesting the existence of the state of Israel”
More about U.S. Aid to Israel

Previous posts of relevance:

War is menstrual envy
War is menstrual envy II
Holocaust religion
Gilad Atzmon Taking Elder Peres Apart
You cannot question the Holocaust – Töben arrested again
Genocide awareness
American Radical – A documentary about Norman Finkelstein
Ahmadinejad and honesty
False media – we don’t need it, do we?
Nuclear war games – for real
Modern Apartheid
Propaganda for war
Obama – Hope or hopelessness
McCain or Obama? Does it really matter in the long run?
The war on/in Iraq
Religion and its influence on society
Political tests

politics

>Obama – Hope or hopelessness?

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Now that Obama is elected, will we see street art and massive internet campaigns with Obama’s face portrayed as the Great Satan? Or is that racist? Politically incorrect?
I sure hope the left will continue to smear the President of the United States and his masters, even though he’s black. Anything else would be true hypocrisy. Because Obama won’t make that difference you’re hoping for. Sure, it’s cool and historically awesome to have a Black president in the White House, but that’s about it. He won’t challenge the status quo, because he’s run by the Israel lobby and corporate interests, and if he wants to remain seated in the White House he’ll have to adjust to what they want him to do.

A lot of people seem to have voted for Obama just because he’s black. That’s ridiculous! What matters is what they as individuals and party use as a platform. And truthfully, Obama is half white and half black. His policies represent the elite, the corporate, privileged ruling class – not at all the black people struck by poverty, the people who seem to vote for Obama hoping for change. That won’t happen. It will look good with a black president, but bear in mind that he’s a slave to white money, money that owns him, and that money ain’t black.
In the end the election is always won by old white men…

Kim Petersen of the Dissident Voice said it:

”In the end, voters must decide whether to vote for a Black man backed by White money or seek a candidate whose principles will challenge the White corporatist maintenance of the status quo power configuration where Blacks (Original Peoples and other minorities) are, preponderantly, on a lower rung of the economic ladder.”

And now that George W Bush is gone (we’ll have to wait until January 20th 2009 for him to leave, though) people seem to think everything will change for the better. Mainstream media fooled you again, suckers. Obama is not the dumbass Bush is, but as for his ”hope and change” declarations, people won’t notice much. The tone will be different, people will celebrate and there will be a sense of hope, but in the long run – where things really matter – everything will remain the same. The lobby and corporate interests will see to it that bombs will be dropped in favour of Israel, oil and blood money, if not in Iraq then elsewhere. Remember Obama’s truly disappointing AIPAC speech…

Still, as I stated earlier, if I had to choose between Obama and McCain, I’d go for Obama. If I could personally decide the outcome I’d prefer a mix of Ralph Nader, Ron Paul, Naomi Klein (even though she’s Canadian) and Noam Chomsky. ;)

Hopefully I’m entirely wrong with this article…

music, politics

>Music that matters: Brutal Truth

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In a time when people raise billions of dollars for sickening presidential campaigns where the outcome really doesn’t matter in the long run it’s time to face the brutal truth.
Why not start with Brutal Truth then? Back in the day it was one of my favourite grindcore bands, and the old stuff is still relevant. Read the lyrics to Displacement (taken from their excellent album Need to control (1994)), listen to the energy and then kick somethin’ that means somethin’ (you know, The Pharcyde song). Like Brutal Truth stated with the debut album in 1992:
Extreme conditions demand extreme responses.

Listen to Displacement here.
Sing along here:

No more – blind falsity
No more – tears left to see
No more – fear left in me
No more – pain inside my head

No more – corporate casualties
No more – progress, myths and lies

Would you – call upon a book of lies?
Blame aside, watch you try and rationalize

Push walls to the threshold of pain
Genetics unmatched in the inhuman acts of capitalist fucks
Cashing grants, the majority oblivious to pain and suffering
Greed, payback in the form of black disease

Would you, fall from grace, desensitize?
Crawl inside socially fed mass genocide
Would you, face the truth or capitalize?
Falsify, bloodshot cracks in visions eye

by Mattias Indy Pettersson