The classic British comedy series ‘Monty Python’ is 50 years old this month, but the sobering fact is that it, along with other shows of the era, would not be made today due to politically correct policing.
The Spanish Inquisition was a series of sketches in a 1970 episode of ‘Monty Python.’ Whenever a character said “I didn’t expect a Spanish Inquisition,” the Spanish Inquisition would turn up with the words “Nobody expects the Spanish Inquisition.” The thing is today, all comedy writers do expect the PC Police Inquisition, so they self-censor. Which is why modern comedy is nowhere near as inventive, or funny, as it was 50 years ago.
There are so many things modern comedy writers can’t say, for fear of being branded ‘racist/anti-Semitic/sexist/homophobic/genderist/misogynistic – or a combination of the aforementioned. Even the mildest joke could get you into serious trouble. And that’s a big problem. As Python John Cleese has said: “All humor is critical. If you start to say ‘We mustn’t; we mustn’t criticize or offend them,’ then humor is gone.”
The Pythons didn’t so much think outside of the box, for them – to quote the zany comedy character Professor Bob Kazinski – there was no box. In his book ‘Very Naughty Boys,’ Robert Sellers notes that Python Graham Chapman was known for his ‘eccentric’ behavior. “Once, when presented with a show-business award at some swish function by Lord Mountbatten, Chapman crawled to the stage on all-fours, clasped the prize between his teeth, squawked, and then returned to his table.” Alas, they don’t make them like Chapman any more.
Editor’s Note: Comcast NBCUniversal will not release a violent feature-length “satire” The Hunt, wherein wealthy liberal elites pursue and murder white working class (and presumably Donald Trump-supporting) Christian conservatives for sport.
The decision to pull the film comes in the wake of last week’s Dayton and El Paso mass shooting events, in addition to a barrage of criticism leveled at Hollywood by President Donald Trump on Friday.
“The movie coming out is made in order … to inflame and cause chaos,” Trump asserted on Twitter. “They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!”
The Hunt creator Jason Blum’s gore-filled, politically-themed repertoire includes The Purge film and television franchise. The Hunt is written by Damon Lindelof, the co-writer of The Leftovers television series and a well known figure in Democratic Party circles whose oeuvre has highlighted what he deems the persistent problem of “white supremacy.”
Trump calls ‘liberal Hollywood ‘racist at the highest level’ as a satirical film that depicts liberal elites hunting ‘deplorables’ for sport is set for release
(August 9, 2019)
President Donald Trump went after Hollywood on Friday, calling the industry “racist” and “really terrible.”
Later in the day, Trump doubled down, calling “liberal Hollywood” racist “at the highest level” and “with great Anger and Hate!”
“The movie coming out is made in order … to inflame and cause chaos,” he wrote on Twitter. “They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!”
Trump was likely referring to “The Hunt,” a satirical film from Universal Studios about liberal elites hunting “deplorables” from the rural US for sport.
Universal Studios pulled TV and digital ads for the film after two mass shootings in Dayton, Ohio, and El Paso, Texas, roiled the country last weekend.
“Hollywood — I don’t call them elites, I think elites are people they go after in many cases — Hollywood is really terrible,” the president said, speaking with reporters on the White House lawn as he prepared to depart for his golf club in New Jersey.
“You talk about racism, Hollywood is racist,” he added. “What they’re doing with the kind of movies they’re putting out is actually very dangerous for our country. What Hollywood is doing is a tremendous disservice to our country.”
The US Congress and numerous state legislatures are in the process of making laws to institute “mandatory vaccination” on both children and adults. At the same time state governments are rolling back protections guaranteeing informed consent, a cornerstone of modern medicine.
Such measures are especially concerning because many vaccines have been found to be unsafe if not deadly, particularly for children. Because since pharmaceutical companies are immune from liability, they have little incentive to ensure vaccines are uniformly safe.
Those of who are in their mid-40s or older recall that measles was once a “right of passage” in childhood: After one suffered through the malady for a few days Mother Nature imparted us with lifelong immunity–minus the health hazard and threat of permanent injury vaccine products pose. Chicken pox, another common yet non-life threatening condition often experienced while young, was often mentioned in the same breath as measles.
This author recalls a time when as a grade-schooler he spent weekdays after school with a family in the neighborhood, as both parents worked. Two of their five children were about my age, and we all attended the same parochial school. One spring the entire family contracted the measles. It was no big deal. My grandparents provided childcare for a week or two, and thereafter I returned to the normal late afternoon routine with the family. There was no fear their household harbored some dreadful contagion, because in the early 1970s health authorities and mass media were not erroneously promoting measles as a grave threat to public health that only vaccines can address.
The video below depicts how measles was reflected along these lines in popular culture.
Over the past several years, however, corporate-controlled news media and ostensibly governmental regulatory agencies doing Big Pharma’s bidding are deceptively making “measles outbreaks” the equivalent of the new Black Plague, while at the same time decrying as “fake news” those who so much as question vaccine safety and point to informed consent.
As the American Association of Physicians and Surgeons has recently argued in a statement to Congress,
Measles is the much-publicized threat used to push for mandates, and is probably the worst threat among the vaccine-preventable illnesses because it is so highly contagious. There are occasional outbreaks, generally starting with an infected individual coming from somewhere outside the U.S. The majority, but by no means all the people who catch the measles have not been vaccinated. Almost all make a full recovery, with robust, life-long immunity.
If we lose freedom here, there’s no place to escape to. This is the last stand on earth.
In a similar vein, the freedom to exercise discretion and informed consent over the treatments and substances introduced into one’s very body is the essence of personal freedom, and indeed perhaps “The last stand on earth.”
The CIA used a mind-controlled assassin to kill the most politically-outspoken recording artist in modern music history. This is the claim of attorney and UK legal reporter Fenton Bresler, who spent eight years investigating the December 8, 1980 murder of John Lennon by Mark David Chapman.
At the time of his death Lennon was poised to secure US citizenship and in the process of launching a comeback with chart-topping albums. At the same time the former Beatle’s political views were at sharp variance with the election of Republican Ronald Reagan to the US presidency that took place one month before Lennon’s assassination.
Bresler argues in his 1989 book Who Killed John Lennon? that the CIA oversaw Lennon’s murder by collaborating with Atlanta police intelligence to train Chapman as the assassin. Author Phil Strongman reached a similar conclusion after his detailed study of Lennon’s death. Atlanta police officer Dana Reeves was Chapman’s handler, “guid[ing] Chapman through his path of becoming a drugged and hypnotized CIA tool, in the way other investigators believed had been done with Robert Kennedy’s assassin, Sirhan Sirhan,” according to historian John L. Potash.
Dana Reeves was working as a Dekalb County sheriff’s officer in the Atlanta area, where he developed a close relationship and extreme control over Chapman by the time he was nineteen years old. Chapman’s parents feared Reeve’s involvement with their son, and said the police officer changed their son’s personality. For example, the parents and others described Chapman as anti-gun throughout his teens, but Reeves turned Chapman on to guns, training him to be a very competent shooter. Chapman had worked at a regular YMCA summer camp in Atlanta. In 1975, Chapman applied for exotic positions in YMCA’s abroad program, first unsuccessfully in the Soviet Union, despite not speaking Russian, and then working in Beirut, Lebanon in June 1975.
Reportedly a hotbed of CIA-backed terrorist activity in the mid-1970s, Chapman was “blooded” (desensitized to violence) in Beirut before returning to the US to work as an armed security guard. In early 1977 he moved to Hawaii where he was eventually treated for clinical depression at Castle Memorial Hospital., a Seventh Day Adventist institution. Bresler argues that at Castle Memorial and several other locations Chapman underwent “CIA-developed behavior modification” as he was honed as a mind-controlled assassin.
In the remaining period leading up to late 1980 Chapman, who continued employment as a security guard, allegedly received a loan from Castle Memorial to tour the world, visiting a dozen countries where he sometimes lodged at luxurious hotels Such an excursion would have been difficult on his modest security guard salary.
After Chapman shot Lennon with a .38 caliber revolver at the entrance of the musician’s residence on the night of December 8, 1980, instead of fleeing the scene the assailant calmly took out a copy of J.D. Salinger’s A Catcher in the Rye and waited for law enforcement to arrive.
Lieutenant Arthur O’Connor, a police officer who oversaw the murder investigation, informed Bresler “that someone could have programmed Chapman for the murder of Lennon. ‘I studied him intensely,'” O’Connor said.
“[Chapman] looked like he could have been programmed, and I know what you are going to make of that word! that was the way he looked and that was the way he talked.” He was the second police officer to make that assessment. After Chapman was arrested for killing Lennon, his bizarre behavior was never checked with a drug test.
John L. Potash, Drugs as Weapons Against Us: The CIA’s Murderous Targeting of SDS, Panthers, Hendrix, Lennon, Cobain, Tupac, and Other Activists, Walterville OR: 2015, 208-213.
In this edited video legendary humorist and author Tony Hendra discusses his role in the history of postwar comedy. Hendra is best-known for playing Ian Faith, manager of the mock heavy metal band Spinal Tap. He was also a pioneer in early British political satire, working with Monty Python founding members Graham Chapman and John Cleese, and was the first managing editor of the National Lampoon, America’s pioneer multimedia comedy powerhouse, where he worked alongside Lampoon founders Doug Kenney, Henry Beard and Rob Hoffman. While at Lampoon Hendra produced the Woodstock mockery Lemmings, discovering comedy giants John Belushi, Chevy Chase, and Christopher Guest.
Legendary iconoclast Tony Hendra joins Real Politik to discuss the history of postwar comedy and his role therein. Hendra is best-known for playing Ian Faith, manager of the mock heavy metal band Spinal Tap. He was also a pioneer in early British political satire, working with Monty Python founding members Graham Chapman and John Cleese, and was the first managing editor of the National Lampoon, America’s pioneer multimedia comedy powerhouse, where he worked alongside Lampoon founders Doug Kenney, Henry Beard and Rob Hoffman. While at Lampoon Hendra produced the Woodstock mockery Lemmings, discovering such figures as John Belushi, Chevy Chase, and Christopher Guest.
The US news media is gearing up for the 15th anniversary of the 9/11 terrorist attacks with a diverse and perverse set of offerings to bolster the official story. None is stranger than the release of “I Kinda Like It When A Lotta People Die,” which George Carlin recorded on September 9-10, 2001, for an HBO special that would have been aired in November but was shelved after the attacks – since it “seemed in bad taste after nearly 3,000 people were killed a day later,” according to a story in the New York Times this week.
Carlin, the brilliant comedian and brutally honest social critic, died at the age of 71 in 2008; he was posthumously awarded the Kennedy Center’s 2008 Mark Twain Prize for American Humor. Despite Carlin’s anti-establishment bent, you don’t get big awards without friends in high places.
“I Kinda Like It” is set for release on September 16, 2016, and can be pre-ordered at amazon or GeorgeCarlin.com (download, CD, or vinyl). But for those who can’t wait, it has been available on SiriusXM, Channel 400 (Carlin’s Corner) since September 1. Mocking the public’s fascination with disaster scenarios, Carlin says he enjoys mass destructions where lots of people die – such as tornadoes, hurricanes, earthquakes, tidal waves, volcanoes, monsoons, forest fires, avalanches, heat waves, famines, and, his favorite disaster, “an asteroid.”
“I’m always rootin’ for a really high death toll,” he says. “That’s why I like the natural disasters … that no one can control.” According to Carlin, “the world is one big theatrical production.” In the face of mass tragedy, “folks, you gotta have fun.”