Friday, 1 October 2010
ARABS RUN HOLLYWOOD - Keith Johnson
Has Hollywood become a staging ground for a radical Islamic takeover of America?
For years, motion pictures and television programs have been rife with pro-Muslim sentiment.
There can no longer be any denial of the fact that there is an obvious, deliberate and concerted effort by the Arab run media to win the hearts and minds of the American people.
Just take a look at this gallery of Hollywood production stills. Do you not see the blatant attempt to advance Islamic ideaology and portray Muslims as romantic and dashing role models for our young people to emulate?
Who can forget how audiences cheered on the Arab extremist who stood up against the evil Indiana Jones?
Or the Islamic fundamentalist who took on the sinister villain known as Iron Man?
And let’s got forget how our children applauded the Libyan terrorists who blew up a photomat in Back to the Future while in hot pursuit of the antagonistic Marty McFly.
By now, some of you have already picked up on my sarcasm. You instantly recognize the absurdity in suggesting that Arabs enjoy a fair measure of respect in the mainstream media.
But, for many Americans–who’ve been fed a steady diet of racist propaganda from birth–the idea that Muslims have been extended some kind of inordinate courtesy from Hollywood is not a far-fetched concept.
These people are idiots, and a basic analysis of the facts prove their hypothesis to be flat out wrong.
Our children’s earliest introductions to Arabic culture are often associated with stereotypical villains who wear turbans, horde treasures and have a general disdain for those around them.
In Disney’s Aladdin, one of the few characters to retain an Arabic name from the original story was the villain Jafer, who was given radically exaggerated and exotic facial features to annunciate how different these people are from the rest of us.
Other characters are obese, uncultured bullies with ferocious sexual appetites and bad dental hygiene.
In contrast, the heores are given more caucasian features and their names are changed to identify with western audiences. In Disney’s Aladdin, the name of the Princess was changed from the one in the original tale. “Buddir al Buddor” was renamed “Jasmine.” Notice how the heroes are drawn to look like white people with nice tans.
In the Star Wars series, desert-dwellers were assigned roles as evil villains. The full body garb worn by the Tuskan Raiders is an obvious reference to the traditional clothing often associated with Arab men.
In The Phantom Menace, the desert-dwelling, white slave trader Watto spoke with a Middle Eastern accent and sounded like a Brooklyn liquor store owner negotiating over the sale of a carton of cigarettes. He too had the exaggerated features of a bulbous nose and sloping forehead.
These things are intended to go unnoticed, but to the subconcious mind, the associations are none the less vivid.
The Klingons from the Star Trek series are yet another example of how Middle Easterners are used as models in the development of screen villains.
Star Trek creator Gene Roddenberry is said to have gathered his ideas for his fictional Klingon species during a trip to the Holy Land in the late 1960′s.
In an article entitled, Can the World of Star Trek Help Americans Understand Muslims and their Culture of Terror, racist, Christian Zionist preacher Deacon Fred says, “I’m not a big fan of Mr. Roddenberry, but our opinions are very similar when it comes to Muslims. Being a Jew, Mr. Roddenberry knew first hand what it was like to be persecuted by such a filthy, backward race of warmongers. My guess is that he couldn’t come right out and say what he felt in public, so he used the television series, Star Trek, to get his views across. Only an unsaved idiot would have a hard time seeing how obvious it is that Star Trek’s, Klingons, are actually Arabs in disguise. I understand it’s harder to tell with the new series, because they started to get politically correct and had to change the makeup so it wasn’t so obvious. Well, you don’t need a degree in Theology to see how clear it still is. In fact, I think the new makeup does an even better job of bringing out the demonic nature and character of the Arab people.”
If an idiot like this can find parallels between Klingons and Arabs, imagine who else is being compelled to draw the same conclusions.
Hollywood has a long held tradition of demonizing Arabs and Persians. There have been periods when they have been subtle, and others when their disdain has been open and without remorse. Never was this this more evident than during the 80′s and 90′s. Handsome action heroes like Arnold Schwarzeneggar and Chuck Norris were often pitted against the ugliest Arab stereotypes that central casting could muster up.
This image from Delta Force is perhaps one of the most disturbing examples of Hollywood sanctioned racism. Notice the contrast of the blue eyed, white haired blonde victim against the contrasting dark features of the greasy Arab terrorist.
The Arnold Schwarzeneggar actioner True Lies was one of the most successful films of the 1990′s, and helped fuel the anti-Muslim fervor that allowed the U.S. government to continue their war on Islam with full public support.
You can always tell when a villain is being used to advance a political agenda. Unlike artistic films–that portray villains as handsome rebels or devious seductresses–propaganda films always depict their villains as ugly outcasts with akward mannerisms and poor hygiene. The goal is to make the villain repulsive and unsympathetic.
Recent films, like Adam Sandler’s You Don’t Mess with the Zohan, pretends to be unbiased, but can’t help but portray Muslims in stereotypical roles. Is Rob Schneider’s depiction of a goofy Palestinian cab driver intended to bridge the gap between reality and fiction? What impression does this leave with your average American?
In America, The only true bias that exists is that which is perpetrated against the Islamic people. While fragments of other forms of racism still survive to a lesser degree, the institutionalized hatred being fermented towards peoples of Middle Eastern descent is contemporary and unprescedented.
And you don’t need a $10 box office ticket to become privy to this fact. Just tune in to your local cable network and you’ll find plenty of examples.
Ventriloquist Jeff Dunham’s Achmed the Terrorist is a very popular villain among the NASCAR loving Bible belters.
On the East and West coasts, audiences love laughing at the devious Pakistani restaurant owner Abu, who vows vengeance against the saintly liberal icon, Jerry Seinfeld.
In popular culture, Arabs never assimilate. They retain their traditional clothing, accents and old world traditions. Those who do integrate with the rest of us do so to advance some kind of Jihadist plot or to exploit our resources.
Dr. Jack Shaheen explores this issue in far more explicit terms in his film, Reel Bad Arabs. According to this synopsis:
“the film explores a long line of degrading images of Arabs–from Bedouin bandits and submissive maidens to sinister sheikhs and gun-wielding “terrorists”–along the way offering devastating insights into the origin of these stereotypic images, their development at key points in US history, and why they matter so much today.”
Since I started this piece out in a sardonic fashion, I might as well end it the same way. Here goes:
If we allow the Arabs to continue controlling our media, it will only be a matter of time before Sharia law is institutionalized in America. Beheadings and stonings will be conducted on a regular basis, and our daughters will be forced to cover their naked bodies. No more string bikinis! From now on, your girls will be compelled to cover their heads with burkas and hide their shapely figures with black shawls. Is this what you want, America?
We need to stop all of this glorification of Islam and get back to the Talmudic principals this nation was founded upon.
Otherwise, we may very well see magazine covers with headlines like this: