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09 October 2010 By 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. Oh, boy. 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 American's--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. Consider this: 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:
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