Ann Coulter, an ugly American adam's apple,
horse face, or not
I could have let the two trolls continue posting at DFQ2, but they were ruining this blog. One is certifiably cuckoo bananas. The other is a historic troll who emerged out of the Daily Kos School for Fake Lefties. Here's a quote from the MLW thread, in which Donkeytale (Joseph KKK) was promoting sexual relations between adults and minors to go with his advocating 13 year old boys sexually experimenting with one another.
One hopes that global capitalism will become the ultimate replacement for war. War by other means, so to speak.Here's a quote he made on this blog a while back, one in which he exposed himself as being the ultimate waste of time. I was plugging The Frankfurt School of Critical Theory. I mentioned Herbert Marcuse, as I also had on this diary.
Socrates in many ways embodies eternal adolescence. The Left of the Frankfurt School?Can people see how idiotic he can be? Marcuse combined Marx and Freud for his groundbreaking Eros and Civilization. Marcuse is also well known for his epic takedown of the Military Industrial Complex with One-Dimensional Man. But to donkeytale, "[Marcuse] was barely a blip on the leftist radar screen." And to repeat, also according to donkeytale, "One hopes that global capitalism will become the ultimate replacement for war." Basically, donkeytale is just another version of right woos left. I also figure donkeytale was for capitalism, before he was against it, based on those two polar comments.
Marcuse taught school in Calif back in the day. He taught Angela Davis I believe. Otherwise, he was barely a blip on the leftist radar screen.
He was considered a Marxist. I'm also a Marxist as well as a Freudian. Check out Marx. He held nothing but scathing contempt for leftist idealism. Did that mean he wasnt a leftist?
The Left, as Socrates depicts it, is simply a dead religion. It worships dead Gods at the altar of idealism which provides nothing for nobody except an obnoxious sense of self righteousness. Change? What change?
The Left's condescending self righteousness is why it shrinks instead of grows in times when it should grow: like today with the spreading crisis of capitalism in the west.
I'm done with that fool. Nothing he posts ever again will remain on this blog. Bob thought he was doing me a favor with his latest entry by taking care of the donkeytale mess. Perhaps he will eventually do that, but unless he addresses the many perverted comments made at My Left Wing, Bob's effort was more akin to the feeding of a troll. Of course I'm perhaps doing the same thing right now. I just wish to get this out of my system. Soon enough this entry will pick up steam on other matters, those I hope good readers will appreciate and contribute to with some civil comments. However, troll posts will never again be allowed. If this makes me a hypocrite, because I despise censorship at big blogs, then so be it. This is a small place. If trolls were allowed to remain as regulars, their presence would truly turn DFQ2 into a scum pond.
There's simply no way to make comparisons between my censorship of trolls with what is done at big places like Daily Kos and Democratic Underground. It's now time to move on.
Something Stinks About America
Those were the Hollywood Ten. They were only the tip of the iceberg of folks blacklisted for being suspected communists. One of the others was playwright Lillian Hellman. Yesterday I watched one of her brilliant plays turned into a movie called The Children's Hour. There are going to be some spoilers, so before reading further, one might want to watch the movie here.
Audrey Hepburn and Shirley MacLaine in
The Children's Hour
Hellman tried to downplay the story's theme having been centered around lesbianism. She claimed it was more about how big lies can ruin lives. What I found most fascinating about the picture is how for most of it, the flick seemed to condone homophobia. The point seemed to be that if the big lie were true, that the characters played by Shirley MacLaine and Audrey Hepburn were indeed lesbian lovers, then it was moral for the students to be withdrawn and their school ruined. Or maybe it was merely showing how rampant homophobia was in the early 60's. This 1961 movie would now be considered dated. I think the better description is that it has historical context.
My bet is that Hellman downplayed the lesbian theme as being integral, because the concept of lies ruining lives would get people thinking of the horrific influence the HUAC had on Hollywood's development. The play was first written in 1934. I have found a study guide (pdf) written by Craig Joseph, Dramaturg which gives most of the backstory.
In previous entries on a number of occasions I have mentioned the Hays Code. The Motion Picture Production Code of 1930, its formal name, wasn't truly enforced until 1934. As PBS.org explains,
...In 1934, Joe Breen, a strict Catholic moralist from Philadelphia, was hired to run Hollywood's Production Code Administration, set up to enforce the Code. The PCA had the authority to review all movies and demand script changes. Any theater that ran a film without the PCA seal of approval would be fined $25,000. The Code had power at last. "The vulgar, the cheap, and the tawdry is out. There is no room on the screen at any time for pictures which offend against common decency. And these the industry will not allow," pledged Breen.
Moviemakers and scriptwriters acquiesced. They accepted the Code as the rule by which they had to work and created films that met Breen's standards. Some actors survived; others were not so fortunate. Under the watchful eye of Breen and the PCA, Jean Harlow learned to play the all-American, girl-next-door and her career flourished. Others, like Mae West, were ruined in part because sexual innuendo and the double-entendre -- her trademarks -- were forbidden by the Code. Hollywood Censored shows reel-to-reel evidence of Breen's influence. The films released after July 1934 were radically different from those that had come before. "It's the difference between Mae West and Shirley Temple," explains film historian Thomas Doherty in the film.
The Production Code's days were numbered in 1952 when movies were finally granted free speech protection under the First Amendment. The motion picture industry officially abandoned the Code in 1968 and soon replaced it with the system of age-based ratings that still exist today....
multi-talented actress, singer, and writer Mae West
Folks are encouraged to check out the pdf study guide linked to above for The Children's Hour. They will see that Hellman's play was based on a true story from Edinburgh, Scotland in 1810. They will also read of how a 1926 play The Captive, one that also included lesbian themes, was shut down by police with the main actresses arrested.
Despite Hellman not using the word lesbian, the play was banned in various cities such as Chicago, Boston, and London.
The author of the study guide, Craig Joseph, Dramaturg, came up with an interesting chart concerning the four times Hellman's play was produced. I'll put those up here. Those interested in more info, please go to the pdf. You won't be disappointed.
I'm going to wrap this up by posting pictures of a few of the people whose careers were damaged and a few of the jerks who were on the wrong side of this specific slice of American History. The biggest lie of them all is that America is a democratic society with a glorious history. One can read Howard Zinn and get the real scoop on our past. Apparently we continue to ignore the mistakes of the past by repeating them. Capitalism continues to reign. America continues to be a cultural wasteland. Nonetheless, there are pockets of awareness, and some people are quite aware of what social reality truly is.
Some Blacklisted Victims
Playwright Lillian Hellman
Actress Kim Hunter
Actor Edward G. Robinson
Actress Gale Sondergaard
Influential Writer Dalton Trumbo; photo courtesy The Trumbo Family
Some Cretins On This Specific Wrong Side Of History
Former President Ronald Reagan
Director Elia Kazan
Dumbass Actor Gary Cooper
Smarmy Actor Adolphe Menjou
Animator Walt Disney
IMAGE: Joseph McCarthy © Bettmann/CORBIS
DATE PHOTOGRAPHED May 04, 1951
Johnny Got His Gun published 1939