jingoist

fun historical note for young people as you watch trump use the department of homeland security as an enforcement arm for his illegal orders: that department didn’t even exist until after 9/11 when george w. bush basically wished it into existence (rubber-stamped by congress) and is another thing that seemed almost comically jingoistic to the left at the time — “homeland,” really? — but that’s just normal now i guess

how many such things will come out of the trump administration that we’ll be expected to pretend are normal for the rest of our lives is yet to be seen

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Captain America: The Winter Soldier Audio Commentary:

“If you’re not a comic book fan, when you think ‘Captain America’, you probably think ‘jingoist’, a propaganda piece. But if you know the comics, every time something happens in the world, he gets to address it: the hippies, the civil rights movement, the Watergate. And our MCU Cap missed all that, he missed 9/11. So he gets to address where we are now without having seen what forced us to make these decisions. He did not have the same slow descent into the cynicism that we all had over the last 40 years. He comes out with fresh eyes.

One of the great things in the comics that we hoped to replicate in the movie is that his reaction is never the sort of knee-jerk old man conservative reaction you would think the man dressed in an American flag would have. He exemplifies the spirit of America, not a party, not a government. He’s never going to fall on a political line. He stands for an ideal and he stands for principles that are translatable across the board. What he is against in this film is subversion, subterfuge and lies, that line between freedom and fear.”

Reading up on the history of the Thirty Years’ War is crazy because it’s this constant back and forth between “certain groups were being super jingoistic due to either religious zeal or desire for power, to the detriment of the significant portion of society who largely just wanted things to be fucking chill” and “the war that resulted frequently bordered on comical because everyone was in debt and cooperation was fake”

So you know how DPRK made that video of bombing the US that they used in one of their demonstrations during their national celebration last week and how the right wing media has been obsessed with it; well, how is that any different than Fox and Friends showing the clip of the MOAB bomb being dropped in Afghanistan with that jingoist country pop song playing over it or all the pundits talking about how beautiful the images of the “Tomahawk” [sorry for the racism] missiles were? It’s the same fucking thing.

Ever seen them say “But thats a HUMAN BEING we’re talking about” for a Black person or, better, a Black VICTIM rather than a racist, rapist or murderer? And the subject is not caring if they die?

Ever heard “Aren’t you generalizing? Not ALL-” for women, trans folk, etc?

When’s the last time we heard them cheer about deporting an illegal white person? It does happen, you know.

I dont recall a white man ever being accused of stealing someone’s job

“Free speech” and “Freedom to demonstrate” and “Its just their opinion, they should have the right to say it”: Never heard it for a Leftist, a Communist/Socialist, an Anarchist. The Black Bloc. Black Lives Matter, anyone?

Very suddenly, everyone’s terrified of political violence and extremism– not because of the Alt Reich and murderous nazis with tiki torches but because of the masked people standing up against them.

Racism doesnt exist and SJWs are killing free speech and Tumblr is ruining lives but Loreal fires a Black trans woman model for speaking the truth about white supremacy and its bloody history and these motherfuckers celebrate.


This has been on my mind. Heavily.


White Americans are all members of a fucking Jingoist cult resting on a shaky foundation of absurd double standards, intellectual laziness and fragility and good fuckin’ goddamn I can’t take it anymore. 

Dunkirk my two pennies worth

My Grandad was one of those men on that beach he almost never talked about it only in whispers and what I know is really sketchy and horrific and second hand.

My family only ever talked about it in hushed tones. What I do know is that he was on that beach that he was wounded, that he saw people die, that he lay wounded next to a dead comrade for quite a long time before being rescued. That my grandmother suspected that my grandad was dead for a fortnight. That what my grandad experienced on that beach fucked him up for life.

As a Brit I grew up with so many war stories, for me growing up the Dunkirk story and the Dunkirk spirit are written large in our culture almost everyone knows the story of the flotilla of little ships that rescued the army from the beaches it’s sold to us as a victory “our finest our” snatching victory from the jaws of defeat. It’s part of our cultural heritage the mythos of our nationhood. We actually even celebrate that giant fuck up. However we rarely talk about is what actually happened what it actually might have been like.

Every weekend in my childhood there was some war movie on TV a lot of those movies glamourised the war made it not seem like a horrific fight for life. I’m a therefore bit jaded about war movies to be honest. I’m highly critical of them so many of them are jingoistic nonsense dressed up as a thriller and adventure and they disgusted me.

Dunkirk is definitely not one of those movies it does for WW2 what 12 years a slave did for slavery it humanises, it makes it personal.

What I liked about Dunkirk was unlike other war movies it didn’t shy away from showing the genuine horrors of that situation. Waiting to die waiting to be rescued not knowing if the horror will ever end. It didn’t make anyone a hero, nor did it cloak it in a romantic storyline like other films do. It also didn’t make it about patriotism well maybe a little.

Nolan chose to make it a film about young anonymous men barely out of boyhood suffering through things we modern peaceful people cannot begin to imagine. Everyone in that movie was fallible and flawed they had to make selfish horrific choices.

Nolan could have made the movie a lot more gory a lot more bloody made a lot more entertaining including more about the fighting but in a way I’m glad he didn’t. It’s a film that can be seen by teenagers studying the subject at school and will I hope make it real for them. Therefore If he doesn’t win the best director oscar this year it will be a travesty.

One last thing that I’m sure was completely unintentional. the film left me feeling angry that we demand that kind of sacrifice from our young men that the draft hangs over all men’s heads like a sword of Damocles. It’s one thing to sign on for that it’s a whole other story being forced to by law. It’s appallingly sexist and must never happen again.

TF2 is a cutting parody of Overwatch and I can prove it

And when I say parody, I don’t mean it as in one of those “Minecraft Parodies” you see on the youtubes where they switch some lyrics around and call it a day without really commenting on the source material, I mean it as in TF2 is a biting deconstruction of Overwatch and everything it represents. Now I’m sure you have all sorts of questions involving release dates and, I dunno, logic, but bear with me here for a moment because this shit runs deep:


Overwatch’s characters have a diverse range of origins and personalities, presented as the best of the best from all over the world. Artists, Innovators, Heroes, Overwatch lets you play as great people who fight for great causes. Granted, there’s a bit of some weird dissonance between how they act and how they play, we’ve all made jokes about how weirdly cheerful Mei is about killing people, but overall they’re just a bunch of lovable goofs. Hell, even the so-called bad guys are impossible to hate, because they just have so much personality baked into them.

TF2′s cast is comprised of foolish, incompetent mercenaries, who are explicitly not the best of the best but rather a bunch of idiots the Administrator got to fight her pointless battles without any motivations beyond the money they earn. They aren’t lovable; entertaining to be sure, but they aren’t exactly the kinds of folks you’d sit down and have a beer with. Examining them at an individual level reveals further criticisms:

  • The Soldier’s name is a clear reference to the Overwatch hero Soldier 76, and further comparisons can be made from there. Soldier 76 is a disgraced war vet who takes the world into his own hands, travelling the world to fight evils and save people. The Soldier amps it up to 11; a mentally ill civilian who becomes convinced he is fighting Nazis in a war that ended years ago, and is in actuality blowing up innocents. No one man can understand the complexities of worldly conflicts enough to actively fight for the “right side” without screwing everything up, and the Soldier personifies this notion to an extreme, portrayed as not only insane but also highly jingoistic, alluding to an undercurrent of american exceptionalism that exists in 76′s All-American Hero stylings.
  • Pyro is a reflection of Bastion. They’re both unintelligible and gender-indeterminate cuties who retain their innocence in a cruel and brutal environment. Of course, Bastion’s dissonance between its purpose and its personality is played for drama, for how tragic it is that this adorable robot is built only to kill. The Pyro, by contrast, portrays innocence in spite of violence as twisted. Compare their promotional shorts: Bastion’s ends with it deciding against its original purpose (and the purpose it serves in gameplay) and exiling itself to the forest to care for a cute bird, while the Pyro’s portrays the violence and innocence as a symbiotic relationship, showing that they hallucinate the carnage they cause as spreading love and cheer. TF2 tells us that the innocence of a DPS character in a shooter is not endearing but terrifying, because the two aspects cannot coexist without extreme cognitive dissonance. The Pyro can delight in violence because, in their limited understanding of the world, they see violence as delightful.
  • The Medic lampoons Mercy and to a lesser extent every support character in Overwatch. There is something faintly hypocritical about a character claiming to want to help people as they serve as an accomplice to a violent, bloody war effort. Mercy may rarely score any kills herself, but she enables the continued destruction caused by every combatant she heals. The Medic puts up no such pretense of being a good person, he loves the pain and violence perhaps more than his compatriots who actively dole it out. He is no harmless doctor, he is as great a threat as the men with guns, if not even more dangerous - and he doesn’t even have a damage boost on his medigun. The Medic’s habit of experimenting on his teammates for shits and giggles is, too, a joke about Mercy, this time referring to her canon involvement in turning Genji and Reaper into killing machines. 
  • The Sniper is, like Roadhog, an Australian who is actually a New Zealander who sounds like nothing like either. I don’t have anything insightful to say here, I just think it’s funny.

But the one thing that binds them - the one thing they have in common? They are all sadistic assholes. Every character has a cackling, evil laugh they let out when they’re on a kill streak, they all bask in the glory of slaughter unashamedly and unabashedly - they are guns for hire, after all. In a way, they aren’t so different to the Overwatch cast in this respect; even the bright and peppy tracer has a host of voicelines cheerily mocking the people she has just murdered with her twin pistols. But what TF2 does differently is make this obvious. The nine classes have no purpose in gameplay beyond causing and enabling murder, and rather than distract you from this fact with charming personalities, it lets you pity them as the mean, cruel bastards that they are. These are no “heroes” to be looked up to, they are the waste product of a world better than them.


Overwatch’s map design is beautiful, to be sure, with a clean, futuristic aesthetic and a wide diversity of metropolitan locales to explore. But when you think about it, the levels don’t make a whole lot of sense. The payload maps are all cities that tend to have only one road in them, they’re peppered with hazardous falls despite being mostly innocuous metropolitan areas, and the architecture is often questionable at best. While some maps have a clear goal that the two teams are fighting over, i.e. Volskaya’s factory, some are just places where a fight is happening for no reason. Illios is the perfect example, you go to a well, a lighthouse and an excavation site but there’s nothing to be won in any of the areas. Of course, asking “why are we fighting here” was a mug’s game to begin with - the gameplay in is non-canon, after all.

TF2′s map design is specifically engineered to draw attention to its own senselessness.  The payload tracks aren’t roads, they’re literal tracks, on the ground, which just happen to lead directly to the enemy team’s giant stockpile of explosive barrels. Control points aren’t just game abstractions, they’re giant metal discs on the ground, marked out with hazard tape and set up to display a giant holographic team emblem. One place where they differ is TF2 is not content to allow a map to have no valuable resource in it to be fighting over, even when said dedication raises more questions than it answers. That granary isn’t just a granary, it’s actually concealing a secret spy base. The lumberyard? Secret spy base. Hydroelectric plant, which actually might be tactically advantageous to own? ALSO A SECRET SPY BASE! “Secret spy base” is the punchline to every map’s visual narrative, and serves as a challenge to the philosophy of Overwatch’s design, by implying that those innocuous locales you visit, all those wells and lighthouses, they were actually just secret spy bases this whole time.

Even the art direction in OW’s fascination with a vaguely utopic golden age is reflected in TF2′s usage of idealised 60′s-ea illustration as a clear inspiration. The visual language utilised by a people who were proud of the world that they shaped, despite the festering problems lurking deep within it, is perfect for the ugliness of the TF2 universe. The painterly, illustrative style isn’t used for white picket fences and well-kept lawns, but ramshackle shacks, industrial monstrosities and machines of war. This is no better time nor a better place, it is a war. It is blood and gore and fire and pain and all the worst parts of humanity condensed into bite sized 10 minute matches.

And the war they fight is pointless. Not pointless in the sense that it is non-canon, but that it is canon and yet it still means nothing. It’s a pitiable battle between two brothers over their ancient, useless gravel estate, with all the lasers and rockets only existing to claim more useless gravel. The fights don’t mean anything, the story isn’t important, and the resources aren’t world-changing, they’re just pointless bloodshed for pointless rewards, a hauntingly accurate summation of the philosophy of a competitive shooter.


Overwatch’s world is one like our own, but… different. Set in a fantastic and wonderful future, it portrays a world coming off of the heels of a great robot war. It is populated by robots called omnics, who are either a metaphor for all marginalised groups ever or evil badguy robots depending on the what the writers need right now. In addition, Overwatch likes to add it’s own additional spice to real world locales: South Korea is threatened by a giant badguy robot and has hired professional gamers to fight it, Australia has been devastated in a nuclear holocaust and is now a desolate wasteland, and The Moon has recently been overthrown by sentient gorillas(?) who now rule its colonies. It’s all a bit silly, to be sure, but it’s made with love, and it’s all just so earnest you can’t help but love it back.

In the TF2 community, there is some debate over whether or not Abraham Lincoln inventing stairs as an alternative to the rocket jump is canon information or not. What is definitely canon, however, is that spaceflight was invented in 1900, New Zealand is a once legendary sunken metropolis destroyed by an incompetent scientist, and Amelia Earhart was a hotdog mascot. The world isn’t just quirky, it’s gonzo, with ghosts and charismatic war profiteers and rocks that radiate pure intelligence all being mentioned in the same sentence with nary a wink. 

You can tell TF2′s lead, Robin Walker, was an Australian man angry about the nation’s treatment in Overwatch, because in TF2 Australia is a world leader inventing all of the major technologies in the setting and is the main catalyst for most of the world’s politics. Tellingly, you never actually go to Australia in-game, because the conflict that TF2 portrays is as stated earlier completely removed from anything remotely important in the setting. Of course, Australia is also said to be populated entirely by idiots who get in barfights all the time and choose their king by boxing with kangaroos because if there’s one thing that TF2 avoids like the plague it’s the genuine idealism that Overwatch so loves.

And Overwatch’s incredible technology levels, showing the world of 60 years from now being populated by megastructures, holograms and hovercars, is parodied with the setting of TF2 having all the same, but 60 years into the past. Because Australium, you see. The quaint interpretation of global politics is now extended into full-on alternate history wherein the Space Race was just the US and Russia feebly attempting to measure up to Australia’s impossible standards and Musician Tom Jones is murdered by the Soldier for being his wizard ex-roommate’s new best friend. It shows the inherent arrogance OW painting its own picture of what the world is like by painting that picture onto the past instead of the future, allowing us to immediately understand the contrast between how the authors portray the world and how it actually was - and letting us laugh at just how different the two really are.


This theory would be completely perfect with no holes in it whatsoever, were it not for one key issue: TF2 came out seven years before Overwatch was announced.

There is only one explanation for this: this is a case of analogous evolution where the Overwatch team made many of the same gameplay decisions as the TF2 team but TF2 understood the absurdity of said gameplay and decided to emphasise it whereas Overwatch elected to ignore it and justify its fiction through supplemental material, combined with TF2 actively parodying tropes that predate both games that Overwatch somewhat coincidentally indulges in due to the developers of one intending a dark satirical tone and the developers of the other trying for a more optimistic affectation TF2 was engineered by Valve at some point in the future and sent back in time like a videogame terminator to destroy Overwatch before it was ever born in order to ensure CSGO’s dominance in the competitive PC shooter field. Valve failed to take the key moral lesson away from the first Terminator movie, however - any endeavor involving time travel is doomed to fail from the start, as whatever action you take has always been taken and the past cannot be changed. Just like Robot Arnold Schwarzenegger, TF2 not only failed to prevent Overwatch’s existence, it ultimately proved instrumental in the game’s conception when the spark of inspiration (here representing Kyle Reese) made sweet, sweet love to Jeff Kaplan’s brain before dying in a dynamite explosion. For shame, Valve. I thought you would have learned from Skynet’s mistakes.

youtube

Copland ► Appalachian Spring (Ballet for Martha)
1944 chamber version

Perspectives Ensemble (2012)

When Aaron Copland wrote the music that would become Appalachian Spring, he entitled it Ballet for Martha. The original commission from the Coolidge Foundation was simply for a ballet with an unspecified “American theme,” for the occasion of a festival held at the Library of Congress. The particular tableaux were later developed by choreographer Martha Graham and the composer working in concert, which is why Copland tended only to smile and nod politely whenever he was told by admirers how distinctively his music had captured the essence of Appalachia.

The title was taken from a poem by Hart Crane, and the word “spring” has a double meaning, referring to both a spring of water and to the springtime season. Copland described the general cast of the piece as one of “quiet optimism.” 

For some audiences and musicians, genuine interest in Copland pretty much ends in the 1930s, roughly after the Piano Variations. Works such as Appalachian Spring, The Tender Land, and even the Clarinet Concerto have been criticized as populist and jingoistic, an opinion of which the composer was acutely (and unapologetically) aware. 

This original orchestration for thirteen instruments is considerably less famous than the orchestral suite later distilled from it, but I vastly prefer the chamber setting. Make of Copland what you will, but it’s difficult to ignore the ingenious economy of mood and means on display here (especially in such an excellent reading by the NYC-based Perspectives Ensemble) — and it’s well nigh impossible to make it through the performance without sprouting a big, warm smile. Iconoclastic it is not, but the sound-world is thoughtful, immersive, and authentic.

nocturnalblue  asked:

Hi, I'm fairly new to the world of ASOIAF Tumblr meta and am blown away by the amount of depth and insight shown posts like yours. Forgive me if this is something you tackled already, but do you have head canon regarding the personalities of the Dead Ladies Club other than Joanna? I'm talking things that are not really supported or refuted by the text (as the text is minimal), but add complexity and personality to these characters. For instance, my head canon for Elia is that she is a bit of

a Dornish nationalist. Nothing terribly jingoistic, but I could see her comforting Rhaenys after Aerys rejected her for smelling Dornish by telling her that Aerys was jealous of all the rich Dornish foods he couldn’t eat with his bad belly. Or that she ultimately pitied Lyanna because of course a lovely girl living in the dreary north with crazy Winter Wolves would jump at the chance to ride south with a handsome prince and maybe visit Dorne. Does that make sense?

Hi, and welcome! Thank you so much, that’s very nice of you to say! I must introduce you to @poorshadowspaintedqueens because she has the best Elia headcanons and she’s the most fabulous fic writer, please look at her AO3

And yeah, I like to believe that Elia was very proud of her Dornish heritage! I don’t think that she had any prior knowledge of Rhaegar’s plans for Lyanna, and I tend to think that she felt a lot more anger than pity, but maybe that’s just me. I mean, I like to think that Elia was a very lighthearted and kind person, but what Rhaegar did was just so shaming to her, and I think it would be a very natural reaction for her to feel angry and resentful, especially because I don’t think that she knew Lyanna at all. 

Something else that I like to believe about Elia is that she loved babies and children, and that she always wanted to have a very large family, and that she was very personally devastated when the maesters told her that she wouldn’t be able to have any more children. (Like, there’s a lot of focus on what it means to Rhaegar that Elia couldn’t have any more children, but I think it must have been sooo sad for Elia especially both because she couldn’t have the large family that she wanted, and because she was disappointing her husband.)

Also, Elia was canonically in her mid-twenties around the Year of the False Spring, and I think that Ashara Dayne was much younger, around 14 or 15 or 16. (No one ever fancasts a teenage girl as Ashara Dayne and it makes me so sad.) Ashara was “a young maiden not long at court” at the time of the Tourney at Harrenhal, and I tend to think she was very inexperienced and naive, a girl caught up in the spectacle and pageantry, and I tend to think that Brandon Stark dishonored her. I think that Elia had taken Ashara under her wing and was very sad when Ashara had to be sent back to Dorne because of the shame of an unmarried pregnancy. 

So yeah, I guess I think that there’s lots of things we could say about the Dead Ladies Club! These types of discussions lean more toward the transformative (fanfiction) side of fandom than the curative (meta) side of fandom, but there’s lots of fanfiction about various pre-series ladies over on my sideblog @pre-gameofthrones. Everything is collected under the tag for #fanfiction, but if you’re looking for a particular character, you can find it under tags like #fanfiction: elia martell. For example, @arielno and @gulbaharsultan write the best fanfics about Cassana Estermont and I’ve reblogged them all under my tag for #fanfiction: cassana estermont so I definitely recommend checking that out! All of the other Dead Ladies are similarly tagged.

Was there a particular woman besides Elia that you wanted my headcanons on? I’m happy to talk more, I’m just not sure what you’re interested in!  

I’ve been watching an episode or two of King of the Hill prettymuch every day for the past couple of weeks, so it’s been on my mind a lot.

King of the Hill was a show that always prioritized character development over satire. We could laugh at the cast’s flaws and boneheaded decisions, but we could always relate to them on one level or another. We weren’t always meant to agree with the characters, but we were still meant to sympathize, and most of the time, the series pulled it off wonderfully.

And sometimes they just dropped the ball outright. Sometimes the message was just too deplorable to laugh at. Sometimes the characters tipped the delicate balance between “flawed” and “sympathetic”, resulting in them become assholes - and more than that, the episode would often take their side, refusing to allow them to learn their lesson.

So, for my own convenience and that of whoever might feel like marathonning the show, I present Casey’s Top 13 King of the Hill episodes to skip. I’ll offer brief explanations, in case you want something a little more substantial than “take my word for it.”

  1. - Luanne Virgin 2.0: Not as awful as the others here, but Hank getting on Peggy’s case because she had premarital sex when she was a teenager, long before she’d even met Hank was just weak. Him deciding to forgive her because he sees her in a clingy, water-soaked robe and gets horny was just an unsatisfying resolution to an unsatisfying conflict.
  2. - Pour some sugar on Kahn: You know how Hank’s father is a deplorable human being, but he’s so over-the-top and miserable that he’s still kind of funny? Well, Mihn’s father is just deplorable, without a shred of humor or irony, and who gets off at the end without anything resembling comeuppance. Fortunately, this is his only appearance in the series, so I can imagine he had a heart attack on the way home.
  3. - Hank and the Great Glass Elevator: Hank and Peggy find that they prefer burgers charcoal-grilled. This is wrong and immoral, and they have to put this aside and pretend to prefer propane-grilled in order to keep Hank from having a meltdown.
  4. - Husky Bobby: Hank “rescues” Bobby from being a plus-sized model just in time to avoid an egging, which is portrayed as being just and inevitable, because these boys committed the crime of being plus-sized models.
  5. - Reborn to be wild: If you don’t worship Jesus in the most formal, rigid, traditional manner, then you’re doing it wrong. Hank at least tries to justify his behavior at the end of this one, but it’s an incredibly weak one.
  6. - Three Coaches and Bobby: Football is the greatest sport and soccer is for sissies. If you’re into soccer, then you’re a limp-wristed loser. Another episode where Hank’s 1950’s worldview is validated rather than challenged.
  7. - Bobby get your Freak off: Stop me if you’ve heard this one before; Bobby gets a new Hobby. Hank talks him out of it with gaslighting, emotional abuse and controlling behavior, which Bobby rebels against until he sees that the person who inspired his new hobby is a miserabl caricature.
  8. - Business is picking up: Yet another instance of Hank being a controlling, narrow-minded asshole to Bobby. Bobby gets a job that pays well, that he enjoys, that he could see going somewhere in life, and Hank sabotages it because he just won’t rest until Bobby’s an emotionally dead tank-wipe at Strictland Propane.
  9. - The Passion of Dautrieve: Bill is just not allowed to do anything that makes him happy. He is THE fuck-up, and any respite from that identity is fleeting.
  10. - Uh Oh Canada: America is great and canadians are assholes… that’s literally the episode’s entire thesis. You can’t even argue that the douchey canadian neighbors are an intentional subversion of the “polite canadian” stereotype because the episode continually frames them as “the canadians”, rather than individual characters. The series was usually pretty good about avoiding racism, but this was just agressively and unapologetically jingoistic.
  11. - Serpunt: Don’t even fucking get me started. If you have ANY affection at all for snakes, just… skip it.
  12. - The Petriot act: The only pet to have is a dog. All other pets are abominable. This one isn’t AS bad as Serpunt, but it’s bad for most of the same reasons - and this is coming from a dog person!
  13. - What makes Bobby Run: If you don’t submit to brutal hazing, you’re a disgrace, and deserve the ire of not only your peers but your teachers and family. If you skip ONE episode in the entire series, this is the one I would suggest, as it is fucking inexcusible.

Hopefully, this doesn’t turn anyone away from the show. King of the Hill was and still is an amazing series, with a lot to offer. It has great writing, great characters, and a strong sense of a community sticking together through the trials of life. It’s a very optimistic series, and though it can show the worst in humanity, it does so with an optimistic tone. The worst in humanity are still human beings, with motivations and desires.

Sadly though, when it dropped the ball, it dropped it HARD.

anonymous asked:

I know you don't reblog peoples replies to other peoples replies but I just wanted to say, I love what you said to that jeffreydickens guy. Like man, if captain america was gay, I would've been into marvel when i was 12, instead of running in the opposite direction because i couldn't handle the jingoistic white Aryan male that cap originally was (sorry). And I'm not even LGBT+. So hell yeah way more people care about a gay/bi Cap, and I too am disappointed that he's not, even in a canon au.

Yeah, someone who asks “who even cares?” about issues like that has had a very limited and immature experience of the world. And the fact that they’re outraged when they ask it suggests that they’re quite terrified of any more expanded experience, which is rather sad. Small minds asking small questions – no wonder nobody cares what they have to say. 

Your hypocrisy is showing..

Ah, America. Oh wait, I mean the corporatized propogandized knee jerk talking head land of the free to agree but not speak up unless you are properly, reverently patriotic as defined by the latest jingoistic standards of the controlling interests flexible standards.

“Oh, he’s anti-American! Some socialist libtard fucking whining cuck!”

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Yeah, no. See, what I SEE wouldn’t aggravate me if I didn’t care, if I couldn’t see the potential that’s there. And it doesn’t really mean anything, it shouldn’t even be relevant, but there is a history of military service in my family. Just in case you think I’m some flag burning ranting commie. I served in the Army, and afterwards the National Guard. My cousin is retired Special Forces, having done 2 tours in Iraq and 3 in Afghanistan. I have a nephew in the Marines. My father served in the Air Force in the Korean War, and my uncle was in the Korean War and did 3 tours in Vietnam. I have 5 great uncles who fought in WW2. So what? That shouldn’t make my opinion any more valid or give it more weight. But to some people it will. Whatever.

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Let me make three points. First, as I’ve mentioned before, our National Anthem in the United States is barely over 80 years old. A soldier who fought during WW1 for the U.S.A. never even once stood and saluted as the “Star Spangled Banner” was played. And currently, unless you’re active military, nothing requires you to stand, put your hand on your heart or any of it. I mean just look at our Presidunt. He doesn’t put his hand over his heart, and he’s Commander in Chief.

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Second, I actually spoke to my cousin, the ex-Ranger AND Green Beret. He doesn’t care much for the kneeling, but he, like EVERY SINGLE MEMBER OF THE UNITED STATES ARMED FORCES swore to uphold the Constitution. Which protects not just freedom of speech, but the right to peacefully protest. And if you think this country is perfect, inviolable in it’s actions, and above question or reproach, then you’re the type of person war crimes are made of.

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Thirdly. Odd, isn’t it, how people of color, and poor people in general, are the ones in America most likely to fight and die for this country? The ones most likely to be covered by that flag you claim they disrespect as they’re lowered into a grave. Why would that be, when they are marginalised, mocked, devalued and disrespected? No matter your color, poor in America is the same as worthless. So why fight? Maybe because then, and only then, are they given even the tiniest recognition and respect. Maybe because that’s how you show a country that doesn’t care about YOU that you care about IT and what it could and should be.

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The thing here is, we have freedom of speech, but nobody listens to the poor. If they shout they’re called thugs and unpatriotic. You, so offended by kneeling, don’t respect or care about their feelings and their opinions, but you demand they respect yours. And considering how very few people serve in the military, or even know someone who has, this mock outrage over this “insult to the troops” is disingenuous to say the least. Nobody seems to be the least bit upset by the actual desecration and disrespect shown on a regular basis for crass commercial purposes. No, you pick this topic now, because it threatens your fantasized perception of a just and egalitarian society. They are, in a highly visible manner that is not easily ignored, saying something you don’t want to hear. And you know what? If you think a badly written song demands more respect than our right to speak up and protest injustice, you’re not only missing the point, you’re an ignorant hypocrite.

anonymous asked:

doea anyone with adhd get words stuck in their head? like sometimes my brain will repeat the word "jingoistic" or "lackadaisical" or something over and over, for a day or so.

i dont just get words stuck in my head; sometimes i get phrases or songs and then ill start saying them out loud. i know when its out loud its called echolalia, idk if there is a word for when its in ur head

Anyone with half a brain should be cheering the North Koreans’ apparently perfecting The Bomb.

As far as the twisted logic of mutually assured annihilation goes, it means that an all-out ground war with the DPRK would be prohibitively costly, in terms of human lives and matérial, to both those nations who would be tasked with prosecuting any invasion - i.e. South Korea - and to the US. In reality away from the hysterical world generated by the paper-hawking media establishment, it greatly lessens the chance of an imminent nuclear exchange, and therefore buys time for rational negotiations between guaranteed sovereigns to take place.

If all of that makes you as sick to the stomach as it does me, then you should be determinedly against nuclear imperalism and the proliferation of apocalyptic weaponry wielded by sociopathic elites of all nations - and not be drawn into the mindless morass of jingoistic Korea-phobia.

DRAMATIZE DEMOCRACY: Burgess narrating a performance of ‘An American Crusader’ on the CBS Radio dramatic program ‘The Free Company’. March, 1941 Hollywood, CA. 

The Free Company was a series of radio dramas based on the principles of American democracy and was designed to combat hostile propaganda in the United States. Burgess served as the chairman of the actors’ division and narrator for the programs. Digitaldeliftp.com had this to say of The Free Company:

“The Free Company and its Free Company of Players’ eleven original plays represent–to this day–some of the most heroic and courageous attempts to push back against the more jingoistic and fascist elements in America that were seizing on the events leading up to America’s involvement in World War II as an excuse to impose fascist, right-wing controls over America’s citizens and their liberties. 

The airing of The Free Company was one of only a handful of such attempts to shine a light on some of the often secretive efforts of right wing politicians and societies throughout America to use the fear of impending War to restrict America’s hard-fought freedoms. The series clearly struck a chord throughout America. But as history has demonstrated, in spite of the outpouring of support for the series–or others proposed in the same vein–the right wing corridors of power in America succeeded in quashing any further popular attempts to strike a balance in American thinking of the era.”

Here’s just a sampling of the talented professionals represented within The Free Company of Players:

Writers/Authors:

  • Maxwell Anderson
  • Sherwood Anderson
  • Stephen Vincent Benet
  • James Boyd [Chairman]
  • Walter Van Tilberg Clark
  • Paul Green
  • Archibald MacLeish
  • William Saroyan

Producers/Directors/Playwrights:

  • George M. Cohan
  • Marc Connelly
  • Norman Corwin
  • Elia Kazan
  • Sidney Lumet
  • Robert Sherwood [Writers’ Chairman]
  • Orson Welles

Dramatic Actors:

  • Charles Bickford
  • Harry Carey
  • Alan Dineheart
  • Melvyn Douglas
  • Henry Fonda
  • Edmund Gwenn
  • Margaret Hamilton
  • Georgette Harvey
  • Paul Henreid
  • Tim Holt
  • Canada Lee
  • Myron McCormick
  • The Mercury Theatre Players
  • Burgess Meredith [Actors Chairman]
  • Paul Muni
  • Luis van Rooten
  • Franchot Tone
  • Claire Trevor

“Archangel”

This Illustration is based off of a story of mine. To clear things up, it is supposed to be some kind of in universe propaganda image (hence the religious/jingoistic undertones).

Anyways, it was my first time modelling a dragon, and I actually had a lot of fun doing it.

interesting how much of the western left’s “state enemies” always happen to line up with the enemies of the u$a,,,,,such a coincidence,,,,such a mystery,,,,

paired with this is the defense of “poor people joining the military for the benefits” (the frequency of which is massively exaggerated [it’s often hard as hell for the actual poor to get into the military]) which funnily enough doesn’t seem to ever apply to people who become cops for the benefits,,,,you always notice the “some western soldiers had to aid the killing machines used to maintain imperialism to Survive Under Capitalism” crowd rarely seem to take the same stance when it comes to vast swaths of the population supporting, with many joining, al-Qaeda cells or the Taliban as they are often the primary form of resistance to imperialism in their respective besieged countries, regardless of how more or less reactionary these groups are compared to the Approved™ candidates for anti-imperialist support, these jingoistic leftists just discount them as Evil Wahhabi Terrorists That Need To Be Killed without any real analysis of said groups

it’s a more commonly accepted version of “condemn these people under imperialist siege because They Did Bad Stuff” except the MLs are aligned with the anarchists in such cases

what the MLs will apply to the DPRK or SAA they never seem to be able to apply to “wahhabi terrorists” who are often the last line of resistance to imperialism in their respective countries, and the same applies to those who support states in an anti-imperialist context which they’d otherwise condemn were it not for the besiegement, they can never apply this to Islamic groups because of past western collaboration (as though Assad hasn’t had a long history of blatant collaboration with the West, including but not limited to the CIA, as though many Palestinian orgs [not limited to Hamas] aren’t pro-Saudi) or because “they’re partially descended from the militias that fought the Soviets 30 years ago” as though the Afghan (u$ puppet) government isn’t largely comprised of former Muj as well

many on the left should consider how much imperialist propaganda influences their views of non-socialist (and/or reactionary) anti-imperialist movements