Monday, July 20, 2009

Why We Fight By Eugene Jarecki & Amy Goodman

That should read: Why We Conspire.

Well, Amy Goodman's in on the plot too. Fetch me my shotgun, ma. It ain't never going to end!

Can't you just remember her in Minneapolis? The wounded outrage!

You have to read this interview just once over lightly to see what's going on here. Not only is Amy Goodman rehabilitating Eugene Jareki, whose rehabilitating Wilton Sekzer---together they are rehabilitating Republican President Dwight D. Eisenhower, who to the liberal Goodman, even "sounds very radical, very revolutionary today."

Try Thomas Jefferson woman.

Where was she when Eisenhower was giving it to the defeated Germans "good and hard," by starving nine million of them after they'd surrendered, to pasturalize their synthetic paranoia, through a thorough "stewing in their own juices?"
Oh daddy, beat me with your rhythm stick, ten to the bar.

Just read this one paragraph of Jarecki talking:
"And on 9/11, he turned a corner on an elevated train in New York City, looking across the river to the city, and he saw that the tower of the World Trade Center was on fire. To those in the train, it was a horror. To Wilton, it was an unimaginable horror, because his son, Jason, worked in the building, and he knew at that moment, I think, that it wasn't good, and when he lost Jason, Wilton, like many people, dealt with that kind of strange mix of anguish and the impulse toward revenge. The impulse toward revenge was there in some people, not all people, but certainly in Wilton, and I think he felt particularly helpless that morning, because he was a cop. I think, you know, imagine if you're someone who is used to thinking that your job is to get people's cat out of the tree and help somebody on their way to school, and you watch something unfold in your own city about which you're completely helpless, and it affects you so directly."
Anybody out there, liberal or conservative, think a policeman in 2001 considered his or her job was "to get people's cats out of the tree and help somebody on their way to school?" Shor nuf, boss.

But now I'm going to go out on a limb. Deep into the interview, Jarecki mentions how he was led into co-creating his young-people's film-within-a-film device in "Why We Fight," by the creative efforts of a Steve Goodman. Is Steve Goodman related to Amy by any chance? I'm getting a hit here. And Fort Meade: incredible means unbelievable in all cases.
"Well, the Educational Video Center is an incredible group here in New York City, run by Steve Goodman, who invented this wonderful apparatus for teaching young people how to document their lives with cameras, and for professionals like myself, it’s a wonderful opportunity to do something very hands-on and not just sit in a dark room somewhere contemplating the fate of mankind. You can actually become directly involved in it. And movies can get pretty tiresome, and you can spend years not knowing if you’ll ever come out with your movie. So I was teaching these kids in this inner city youth program how to document things around them.

"And they knew I was making a movie about war. The kids were cool, and they were smart, and they figured if they made a movie that was also sort of tangentially related to war, it would have a sporting chance of ending up in my movie, and they played their cards right, because they decided to start filming the story of the recruitment of one of their friends, because people are being recruited on all sides of them right now, because we do have, as so many of us recognize, a kind of poverty back-door draft in America that is forcing young people by economics to put themselves in harm’s way at a time of war and join the military. And so they said, “We’re going to go off and film the story of one of our recruits.”

"Now, a lot of the kids are black and Latino, so out of probably my own just presumptuous, you know, impulse, I thought they would come back with a black or Latino kid and the story of some kid who was in their ethnic groups. And they didn’t. They came back with a white kid. And what was fascinating about that was that they were—the kids were race-blind and very class-aware. They knew that this is a class issue, that ultimately, if you’re poor in America right now, there’s a draft."

This is prime evidence why the whole foundation world needs to be completely dismantled. Teaching young people video arts would be a wonderful and meaningful experience, if the true agenda weren't legitimizing false synthetic realities. These people can't think in any way that isn't self-serving. We don't believe your anecdote Mr. Goodman. Jarecki does volunteer work with young people in NYC? Like bringing arts into the public schools? And the kids wanted to put on a show? So the blacks and Latinos put forward a white or Jewish kid to be of merit as star? You lumpen chunk of dark matter, you are poison to youth---everything you touch will turn to shit before your eyes.

But the question that really takes the cake, is when Amy Goodman asks:
"Eugene Jarecki, your film is going nationwide today, but the politics of how a film makes it in this country is not very well-known, because the very corporations that control the message on television -- How does something like this get out there amidst all the Hollywood hype?"

As Joni Mitchell put it once---"the star-making machinery behind the popular songs."

I don't know who Paul Jay, the senior editor for "The Real News," interviewing Jarecki is, but I don't like him. He talks about getting down to the foundational matter of things, but then he says
"Another piece is the strategic planning that has imbued American foreign policy, at least since World War II, if not before---that the United States should have a dominant global position in the world, and should have a military to back up this dominant position. In fact, to the point that this should be a single, super-power world, if that's achievable."
As though such a policy had to be a given, to which Jareki replies, Yes, Yes, and Yes, in all the right places.

A single super-power world has been a total disaster! Much worse than the balance of power world ever was! How about America defines her mission, and then eschews any more power than what's necessary to complete that mission?

If you let him, Jareki starts talking too fast, like all the other operatives and cointelpro Energizer Bunnies out there. Also, both Jay and Jareki use their hands too much when they talk, and that reminds me somehow of the Kabuki hand poses Rumsfeld use to hold.

(I'm going to go watch the bfilm now on Google Video. If I find out I was wrong in any of my assessments, I'll come back here and apologize, but don't hold your breath, waterboarders.)

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