Naked (1993) – Mike Leigh (Friday’s Finest)

Naked is a dark and confronting black-comedy film about a violent sex offender in London. This vagabond Johnny who wanders the streets expounding his world view at length to anyone who will listen is a detestable, but loquacious intellectual. I watched this film plenty when it first came out and I was captivated by its temerity in exposing without pretences the clandestine world of this depraved individual.

It’s a film that portrays relentlessly and unflinchingly a side of our character which we’d prefer to simply sweep under the carpet. It takes everything that is immoral, degenerate and depraved in modern society and smears it all over the screen in a grubby orgy of loathing. I can’t say a lot about the plot because, well, there isn’t a great deal of plot to speak of. So what is it? I’ll tell you what it is: it’s the honesty of it. The brutal, searing, sickening honesty. Naked definitely lives up to its title.

IMDB Storyline: Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.

As Johnny walks around London he meets Brian, a security guard (see video at end of this post) who looks after an empty office building at night, which Johnny calls “the most F/&king tedious job in England“, while planning to move to a seaside cottage in the future. Their dialogue is why I go to see movies.

Man isn't the be-all and fucking end-all.

Look, if you take the whole of time,

represented by one year..

we're only in the first few moments

of the first of January.

There's a long way to go.

Only now we're not gonna sprout

extra limbs and wings and fins...

because evolution itself is evolving.

And whereas you, through some process

of extrasensory recall...     

might imagine that you were some...

I don't know... some seventeenth-century Dutch girl...living in a windmill in old Amsterdam...

one day you'll realize that you've had not

just one or two past or future existences...
                   
but that you were, and are, everybody

and everything that has ever been...

or will ever be.

The scenes between Johnny and Brian came from an an eight-hour improvisation. Other than being so awkwardly funny, they bounce off each other in a dance of thought and doubt. It’s a staggering performance from David Thewlis who along with the director Mike Leigh won their respective award categories at Cannes.

You might recognise the then-unknown Thewlis in the Coen Borthers The Big Lebowsky scene where the Dude says to Maude – ‘What the f(%k is with this guy?’

According to wikipedia: Leigh first had the idea for the story while a student in Manchester in the early 1960s: “We had a very enlightened teacher who endlessly reminded us that the next total eclipse would be in August 1999. Later I started thinking about the millennium and the end of the world. In 1992 the millennium was impending, so I brought that idea to the film...

Leigh’s method, as in all his character dramas, consisted of elaborate improvisational rehearsals with the cast to develop the characters’ background stories and traits. The actors interacted with the outside world and each other while in character until Leigh told them to come out of character and be themselves. The dialogue produced from these interactions was then edited, or “distilled”, to form the script, based on a minimal plot outline by Leigh.

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Did I Ever Love You (2014) – Leonard Cohen

This song demonstrates what is so damn good about Cohen’s music especially in the latter epoch of his career. I could have Did I ever Love You on repeat and never tire hearing it. The contrasting musical interlude between the slow verse and fast-rollicking chorus sections hits my musical taste-buds like few other songs. It can feel confusing to the listener upon first listen because of this juxtaposition between the two styles and moods.
Someone wrote on the Cohen forum that ‘it seems to present “various positions” on the matter at hand (manic-depressive positions, though they may be, but that is now something that I love about it!)’. I couldn’t agree more with this sentiment.

Did I ever Love You is the first song presented here from Cohen’s 2014 album Popular Problems. I have another song from that record which I am yet to write about that I hold in the highest esteem and dedicated to my daughter when she was baptised. I’ll let you guess which one that was. The more I hear Did I Ever Love You the more I love it. It also has this fascinating country-style sound which tickles my senses.

Popular Problems is the thirteenth studio album from Cohen and received uniformly positive reviews from critics. The album peaked at number one on the Canadian Albums Chart, selling 20,000 copies in its first week.

The thing about Did I Ever Love You and many other songs from Leonard is how they draw you in. The song expresses our inability to communicate feelings of love and despair, and of wanting and needing someone. It appears both parties are still longing for each other, although they probably haven’t seen or heard from one another in a very, very long time.

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Diamonds & Rust (1975) – Joan Baez

The introspective self-emboldening Diamonds and Rust is the first song to appear here from the phenomenal talent that is Joan Baez. It is so well-renowned because it tells of her turbulent relationship with fellow singer-songwriter Bob Dylan. Diamonds and Rust doesn’t mention Bob’s name, but Baez admitted the lyrics refer to her relationship with him. While Diamonds was released in 1975 on the record by the same name, it recalls a phone-call from an old lover a decade earlier in Greenwich Village.

It is regarded by a number of critics and fans as one of her best compositions. This is my favourite song of hers, but I wouldn’t say I am familiar with a lot of her discography. Joan is heralded as one of the best interpreters of other songwriters compositions including of course Bob Dylan who she toured with most notably in the early 60’s and on the Rolling Thunder Revue – 1975. The two even sung at the famous Martin Luther King Jr inspired March on Washington in 63′.

A lot of people attribute Bob Dylan’s rapid rise to fame in the 60’s folk movement to Baez’s unfledged support of his musical endeavours. Before Dylan made a name Baez was already a popular figure in the folk community. She was so enamoured with Bob she often invited him to sing with her.

“Well, you burst on the scene already a legend / the unwashed phenomenon, the original vagabond…”

The relationship turned on its head after Dylan catapulted to stardom and he invited Joan to tour with him in England in 1965. The landmark music documentary of that 65′ tour – Don’t Look Back revealed Dylan never invited Joan on stage and she was left to just tag along like a fellow-groupie in Dylan’s entourage. Understandably she was incensed with how she was treated and the tour signalled the end of their relationship.

As I remember your eyes
Were bluer than robin’s eggs
My poetry was lousy you said
Where are you calling from?
A booth in the midwest
Ten years ago
I bought you some cufflinks
You brought me something
We both know what memories can bring
They bring diamonds and rust

Diamonds and Rust was a top 40 hit on the U.S. pop singles chart and as aforementioned served as the title song on her gold-selling album Diamonds & Rust. Baez originally told Dylan that the song was about her ex-husband David Harris.

In her memoir, And a Voice to Sing With, Baez recounts a 1975 conversation between herself and Dylan, discussing songs to include in the then-upcoming Rolling Thunder Revue concerts:

“You gonna sing that song about robin’s eggs and diamonds?” Bob had asked me on the first day of rehearsals.
“Which one?”
“You know, that one about blue eyes and diamonds…”
“Oh”, I said, “you must mean ‘Diamonds and Rust,’ the song I wrote for my husband, David. I wrote it while he was in prison.”
“For your husband?” Bob said.
“Yeah. Who did you think it was about?” I stonewalled.
“Oh, hey, what the fuck do I know?”
“Never mind. Yeah, I’ll sing it, if you like.”

In the 2009 American Masters documentary Joan Baez: How Sweet the Sound, Dylan praised the song in an on-camera interview: “I love that song ‘Diamonds & Rust’. I mean, to be included in something that Joan had written, whew, I mean, to this day it still impresses me“.

Baez has performed the song no fewer than 234 times in concert. Even after the conclusion of her “Farewell Tour”, Baez performed the song as a duet with Lana Del Rey when she showed up as a surprise guest at a Del Rey concert in Berkeley, California on October 6, 2019.

References:
1. Wikipedia – Diamonds and Rust

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Once Were Warriors (1994) – Lee Tamahori (Friday’s Finest)

The movie now glorified as the big cinema game changer in 1994 is the Cannes Palme d’Or winner Pulp Fiction, but Once Were Warriors released the same year had a much bigger impact on me. After multiple viewings extrapolating the jigsaw time-jumping Pulp I now appreciate its greatness with respect to Tarantino’s writing, but as far as a ‘knock your socks off’ movie experience I cannot speak more highly of Once Were Warriors. It’s a cultural tour de force of exceptional cinema from New Zealand and left most cinemagoers gobsmacked by the finale including yours truly.

IMDB Storyline: Set in urban Auckland (New Zealand) this movie tells the story of the Heke family. Jake Heke is a violent man who beats his wife frequently when drunk, and yet obviously loves both her and his family. The movie follows a period of several weeks in the family’s life showing Jake’s frequent outburst of violence and the effect that this has on his family. The youngest son is in trouble with the police and may be put into a foster home while the elder son is about to join a street gang. Jake’s daughter has her own serious problems which are a key element in the plot.

This movie goes deep into the trenches of one Maori’s family attempts at dealing with the problems of poverty and alcoholism. Warriors remains the highest grossing New Zealand film of all time even surpassing The Piano (1993) and critically lauded upon release. It’s definitely not an easy movie to watch, but as a viewer you feel so invested in the characters trying to keep the family together despite the persistent hardships confronting them. I haven’t seen as many ‘raw’ movies as ‘Warriors‘ and admire the courage it took for the actors especially the mother played by Rene Owen whose performance is astonishingly good. Heck, Rene was even picked up by Lucas to play in two Star Wars prequel movies as a result.

There are movies which depict domestic violence, but when Rene’s character is hit in the gut, you actually feel like you are being hit in the gut. She’s the anchor point in the whole movie. The rational person of the family is the oldest daughter (13), who is really the only one who can communicate with all the other members since the mother (Rene character) also succumbs to the boozy lifestyle. The boys are either lost in life or lost in their own rage. The youngest daughter is simply too small and clings to her sister. It takes a tragedy to allow some of these individuals to reach out for each other and try to re-create a form of family life. For any cinephile Once Were Warriors is a must-see.

Once Were Warriors Movie Trivia:

  • Temuera Morrison would get challenged to fight all the time by local thugs after seeing him play Jake Heke…(he also said) how he couldn’t contemplate how anyone would want to watch a film containing such violence.

  • Actor Cliff Curtis initially refused the role of Uncle Bully as he found the character so repulsive, but his agent and his auntie persuaded him to do it.

  • The film was turned down by various potential backers and producers including the New Zealand Film Commission. A key turning point in getting the project off the ground was that Wellington playwright Riwia Brown rewrote Duff’s original script and made it as much the story of Beth and her children as it is the story of Jake. Then director Tamahori knew he was onto a winner. Tamahori said “You couldn’t have it be a story about a mindlessly violent thug. I was more fascinated by a story of a mother who makes efforts to rise above her circumstances and create a life for her children.”
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Desolation Row (1965) – Bob Dylan

I’ll admit I was more daunted to write about this song than any other. I’m still none the wiser where to go with this phenomenal piece after letting it sit with me a number of days. To subject your interpretation to Desolation Row seems futile. Most of all to Dylan, who when asked at the famous ’65 San Francisco press conference – ‘Bob, where is Desolation Row?
Bob Dylan: ‘Where? Oh, that’s someplace in Mexico. It’s across the border. It’s noted for it’s coke factory. Coca-Cola machines are… sells -… sell a lotta Coca-Cola down there‘.

As reported here and collated in my poll at the Bob Dylan community web site – Expecting Rain, Desolation Row was voted his 5th favourite song (18 votes). What makes Desolation Row and the No 1 voted song in that Poll – Visions of Johanna one of Dylan’s greatest compositions is his surrealist lucid dream-imagery which suggests entropy and urban chaos. It’s analogous to seeing German’s Ludwig Boltzmann’s scientific results about the entropic nature of particle-energy in the 19th century applied to the literary realm.

My two favourite versions of Desolation Row are as follows:

1. The original (August 4, 1965 audio below) for his superior harmonica playing and the improvised guitar backing by Nashville-based guitarist Charlie McCoy. I haven’t heard more impactful harmonica solos in any song by Dylan or anyone else like he did in that version (listen from 8:30 until final). Author Mark Polizzotti credits some of the success of the song to McCoy’s contribution: “While Dylan’s panoramic lyrics and hypnotic melody sketch out the vast canvas, it is McCoy’s fills that give it their shading.”
Thank God we have this version available free online to the public.

2. The MTV live unplugged release version (1994) which I believe is unavailable online due to copyright reasons. There is another ‘unplugged’ version online, but it doesn’t capture the coalescing force and climax like the officially released version. The rollicking guitar and emotion in his voice is a great force of music here.

There were many initial out-takes of the song even including Al Kooper on electric guitar now available on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966. Robert Shelton, wrote that one of the targets of this song is “simple-minded political commitment. What difference which side you’re on if you’re sailing on the Titanic?”

“Praise be to Nero’s Neptune,
The Titanic sails at dawn,
Everybody’s shouting,
“Which side are you on?”
And Ezra Pound and T. S. Eliot,
Fighting in the captain’s tower,
While calypso singers laugh at them,
And fishermen hold flowers,
Between the windows of the sea,
Where lovely mermaids flow,
And nobody has to think too much,
About Desolation Row”

In an interview with USA Today on September 10, 2001, the day before the release of his album Love and Theft, Dylan claimed that the song is “a minstrel song through and through. I saw some ragtag minstrel show in blackface at the carnivals when I was growing up, and it had an effect on me, just as much as seeing the lady with four legs‘.

What more can be said about this freak song that hasn’t already been discussed in the annals about the most influential western music? I’ll leave it to your ears to make your own assessment. Personally, each time I hear it, it feels like learning to appreciate music, history and poetry anew at its most rudimentary, but potent-best. I feel fortunate to have lived in the same epoch as Bob Dylan.

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The Castle (1997) – Rob Sitch (Friday’s Finest)

This contains one of my all-time greatest comedic lines in Australian cinema history…
Dad says to son Steve: ‘Oh Steve could you move the Camira, I need to get the Torana out so I can get to the Commodore‘.
Steve – ‘I’ll have to get the keys to the Cortina if I’m gonna move that Camira‘.
Dad – ‘Yeah watch the boat mate‘.

The Castle is the quintessential Australian family movie. I don’t think another was made which depicts so accurately the suburban family culture in Australia during the 80’s / 90’s period. Also it’s offbeat-quirky humour is uniquely Australian and hasn’t been replicated in my estimation in cinema. The humour plays on the national self-image, most notably the concept of working-class Australians and their place in modern Australia. It’s American equivalent for representing the nation’s family and cultural values you could say is Ron Howard’s Parenthood starring Steve Martin.

Internationally, the legendary Crocodile Dundee starring Aussie comedian Paul Hogan which thrilled international audiences and instigated an unprecedented tourist boom to Australia is arguably Australia’s most popular ‘international’ movie. It’s a pity The Castle was never distributed internationally and scantily known in film-circles outside of Australia, except for New Zealand. I know it is almost universally admired back home, making it somewhat of an Australian cult classic.

A Melbourne family is very happy living where they do, near the Melbourne airport (according to Jane Kennedy, it’s “practically their back yard”). However, they are forced to leave their beloved home, by the Government and airport authorities. ‘The Castle’ is the story of how they fight to remain in their house, taking their case as far as the High Court.

There are just so many moments in The Castle where I found myself transported back to my upbringing. It’s probably unsexy to mention it in this day and age but The Castle represents the traditional nuclear family back then when it was made; when the father was the principal breadwinner, the mother the part-time worker and home-caregiver and the sons – spoilt sit-around loafs, including one in jail. But don’t let that turn you off because it’s akin to ‘This Is Spinal Tap’ (a movie I must review here at Friday’s Finest) which aims low but taps into a certain subculture elevating it into something wonderful. Overseas visitors to Australia should watch The Castle in order to “get” Australia and Australians.

The movie was just filmed in 11 days with a budget of just $AU 750,000. It made 13 times the investment at the box office. It’s just plain funny this movie and heart-warming especially how it represents the most humble of families sticking it to the the authorities. The film’s title is based upon the English saying, repeatedly referred to in the film, “A man’s home is his castle“. Since the movie is practically unavailable to those outside of Australia, I found a full version of the movie complete on You Tube below. I hope you like it:

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Democracy (1992) – Leonard Cohen

Back when Cohen released Democracy I was just out of high school and learning to fly from the nest. If someone had asked me what Democracy was I may have scolded them for eating into my time trying to serenade women about earth angels and how I didn’t like ‘algebra’. Ironically, I would embark on an Arts degree majoring in Political Systems. I hadn’t even heard of Leonard Cohen until a decade later when I saw his name peppered on a Dylan music discussion board. I turned to my neighbour an Irish brick-labourer-music enthusiast seeking advice about Leonard and he told me in no uncertain terms – ‘not to to touch him with a bargepole, because he was a manic-depressive’. So I held off, but I eventually succumbed to his music. I find myself still learning about him.

Democracy is the third song to appear from Cohen’s The Future album here. As stated in the previous entry Closing Time the album was written at the time the Berlin Wall had fallen and Cohen said he wrote 60 verses for Democracy adding:

‘..and everyone was saying democracy is coming to the east. And I was like that gloomy fellow who always turns up at a party to ruin the orgy or somethingIt’s a song of deep intimacy and affirmation of the experiment of democracy in this country. That this is really where the experiment is unfolding. This is really where the races confront one another, where the classes, where the genders, where even the sexual orientations confront one another. This is the real laboratory of democracy‘.

It’s coming (Democracy) to America first
The cradle of the best and of the worst
It’s here they got the range
And the machinery for change
And it’s here they got the spiritual thirst
It’s here the family’s broken
And it’s here the lonely say
That the heart has got to open
In a fundamental way
Democracy is coming to the USA

The ‘real laboratory’ test of Democracy as Cohen put it, is playing out right now. The polarisation effects he alluded to in his comments between races, genders and sexual orientation is turning this watered down term called Democracy into a fallacy in our current epoch. I refer back to the Future of War article I wrote about the US Navy . The presenter of the US Navy authorised video stated the following:

I just had a four star general tell me that the cyber domain and specifically the human elements – that being us affected within that cyber domain is one of the 5 most important components to modern warfare…I believe the biggest threat right now is division. They are going to find the division within our society and they are going to try and amplify it. I would like to submit for your consideration a countermeasure….a way to get through this modern bombardment; this new battle-space that we haven’t considered before. I think if they are going to divide us, I think the way to get around this is proactive intentional unity….if we just extend patience and political grace but also to those we disagree these manoeuvrers in the cyber domain meant to divide us simply will not work. Political grace, the art of disagreeing well. This is the ultimate countermeasure.

Political Grace‘ is sorely lacking in the laboratory experiment conducted by the mainstream media, multinational corporations and social media platforms. The Daniel Schmachtenber quote in his discussion with Brett Weinstein continues to impress me:

‘Porn and online dating is to intimate relationships what Facebook and Twitter is to tribal bonding’

I’ll leave the last words to the Jewish singer-songwriter trained as a poet and ordained as a Buddhist monk and speaks to our time with astonishing prescience. This was a verse from one of the 60 verses that didn’t make the final cut:

First we killed the Lord and then we stole the blues.
This gutter people always in the news,
But who really gets to laugh behind the black man’s back
When he makes his little crack about the Jews?
Who really gets to profit and who really gets to pay?
Who really rides the slavery ship right into Charleston Bay?
Democracy is coming to the U.S.A.

Below I have added the original video of the song and below that an outstanding Live version subtitled in Spanish.

Reference:
1. Brain Pickings: There Is a Crack in Everything, That’s How the Light Gets In: Leonard Cohen on Democracy and Its Redemptions.

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Delia (1993) – Bob Dylan

Bob Dylan at the Supper Club 1993

This is the first song to appear here from Dylan’s 1993 traditional-folk record World Gone Wrong (WGW) and kicks off side two of the record. This album was a follow-up to his other acoustic guitar and harmonica record – Good as I Been To You released the year prior. He had a penchant during this phase to draw deep from the wellsprings of by-gone music, but the songs in WGW seem to hone in on darker and more tragic themes than Good as I Been. The album won the Grammy for best traditional-folk album.

Delia was a gambling girl, gambled all around
Delia was a gambling girl, she laid her money down
All the friends I ever had are gone

Delia’s dear ol’ mother took a trip out West
When she returned, little Delia gone to rest
All the friends I ever had are gone

Delia’s daddy weeped, Delia’s momma moaned
Wouldn’t have been so bad if the poor girl died at home
All the friends I ever had are gone

In the context of rural-blues Dylan plays his guitar in a high tin-like raw sound as if he were from a bygone era. You can hear his breathing and distortion throughout. Dylan held sessions at his Malibu home garage studio and recorded the record in a matter of days. Their appears no writer for Delia , but other songs from the record were written by Blind Willie McTell (Broke Down Engine) and Benjamin Franklin White (Lone Pilgrim).

According to Untold Dylan about DeliaThe most commonly held view is that the song is about Delia Green who was born in 1886 and killed aged 14. The song appears in many forms but the most common is that she was shot dead on Christmas Day, 1900, by youth named Houston, after the couple had had an argument, seemingly him boasting that he had been to bed with her many times, and she saying that was not so. He served 12 years in prison and died in 1927. Delia Green was buried in an unmarked grave.

Other versions of the song with distinct retelling were released by Blind Willie McTell, Johnny Cash and Pat Boone. Regrettably the original studio version of Dylan’s version from World Gone Wrong is not available online, but I have forwarded a live version (2000) from a fan at the Newcastle show below:

References:
1. Wikipedia – World Gone Wrong
2. Untold Dylan – Why does Bob Dylan like “Delia” – and how he rescued the song.

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Halloween (1978) – John Carpenter (Friday’s Finest)

Halloween has nearly been rebooted more times than Britney Spear’s articles have appeared on the BBC home page. From that, you get a sense of the horror theme which coarse through both franchises. Despite the numerous attempts to replicate or revive the original Halloween (1978), not to mention the classic Nightmare on Elm Street (1984); these originals have never been surpassed in terms of their impact on the genre. I revisited Halloween (1978) recently with my kids for the first time in two decades. It didn’t disappoint, on the contrary, I was surprised how well it stood up after all these years. And my kids are terminally traumatised as a result.

I think apart from John William’s piano theme for Spielberg’s Jaws, the score for Halloween composed and performed by its director John Carpenter is one of the most eerily effective and unforgettable piano tunes in cinema. The movie has that B-grade 70’s grindhouse production but not to its detriment because its style fits the substance. Halloween as an independent release is one of the most profitable of all time grossing 70 million. It then spawned a film franchise of 11 films and even a video game was made of it as well as a comic book series. The original stars Jamie Lee Curtis in her film debut who plays a female babysitter stalked by Michael Myers the mental patient on the run from the institute. She earned just $8000 for this, but by golly did she deserve it! The film was selected for preservation in the United States National Film Registry by the Library of Congress.

Carpenter was very patient and careful with Halloween. It’s a slow, but tense build-up, aligning with Michael Myer’s voyeuristic scanning of his childhood neighbourhood for victims. It may have been easier for most directors to just go helter skelter to please a shallow audience craving a splatter, but Carpenter picks his moments and knows when to strike.
Irwin Yablans, the film producer wanted a movie that could produce the same impact as The Exorcist… ‘Under pressure’ as David Bowie might put it! The adventurous Carpenter came up with a story – The Babysitter Murderers, however Yablans convinced him to change it to a story on Halloween and call it by that name which Carpenter agreed.

Much of the inspiration behind the story which was written in just 3 weeks came from Celtic traditions of Halloween such as the festival of Samhain. Although Samhain is not mentioned in the plot … ‘the idea was that you couldn’t kill evil, and that was how we came about the story‘ according to Deborah Hill former girlfriend and co-writer with Carpenter. She wrote most of the female characters’ dialogue. According to wikipedia: Many script details were drawn from Carpenter’s and Hill’s own backgrounds and early careers: The fictional town of Haddonfield, Illinois was derived from Haddonfield, New Jersey, where Hill was raised, while several of the street names were taken from Carpenter’s hometown of Bowling Green, Kentucky.

In devising the backstory, Carpenter reflected on the haunted house down everyone’s street. A house perhaps where someone was killed in or at least abandoned. It reminds me of the Boo Radley house in To Kill a Mockingbird and how children coddled stories about what went-on inside. The anomalous endings of both these movies left audiences gobsmacked and challenged their pre-conceived notions and misconceptions.
Below is a short audio of the exemplary Halloween soundtrack:

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When You Realise the Western Media is corrupt and is Anti-US for the first time in your life.

I realised this when I read this article on abc news Australian website:

The ABC news Australia article didn’t mention the US military killed in this bombing in its title. When has that ever happened with an ally or previously on this news site? If it was Trump as head of this mayhem, the press would have blamed him ad nauseam. But now the western media don’t seemingly care about western lives in accentuating their reported title.

This will not go well domestically or internationally for the US. I can’t imagine how this turns out.

As much as I despised Trump’s rhetoric (well now both sides), Trump still is the first President not to send troops into war in over 40 years, the Middle East was also as peaceful as we have seen in 40 years or more. The economy was booming and even the blue states were winning. The foreign international scene had not been as calm as its been in many a decade whether between China, Russia and the Middle East. Trump implemented the vaccines initially (which was disdained by all in sundry on the Dems side) and he was in favour of their use.

Now we have a world very different from when Trump left office. A current President openly supporting the radical left’s continued violence and institutional esposure of ‘CRT’ Critical Race Theory; a breakdown in the Middle East, restored tensions with China and Russia, economic ruinations through inflation and unemployment, a migration crises on the border, Socialist revival in the Americas (because of Biden’s policies) and above all THE censorship by the biggest social media platforms against free speech.

Posted in News, politics

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