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Thread: Watching Animal House as an act of civil disobedience

  1. #1

    Exclamation Watching Animal House as an act of civil disobedience

    Nolte: The Gloriously Inappropriate and Problematic ‘Animal House’

    https://www.breitbart.com/entertainm...al-house-1978/

    John Nolte 7 Feb 2021

    My favorite part of Animal House, by which I mean the part that makes me laugh myself nearly to death, is watching Bluto (John Belushi) — backed by the strains of the great Sam Cooke’s Wonderful World — stuff his face as he makes his way through a cafeteria food line.

    Don’t know much about history
    Don’t know much biology…


    The scene famously ends with a chaotic food fight after Bluto impersonates a zit.

    Belushi, like Lou Costello, Harpo Marx, and Redd Foxx, was one of those once-in-a-generation talents where everything he did ranged from lovably amusing to laugh-out-loud hilarious. A change of expression, the lift of an eyebrow, a shrug of the shoulders, and you were on the floor. After nearly 50 years on the air, John Belushi is still the greatest talent to emerge from Saturday Night Live. In the best sense of the word, he was every inch a clown.

    My favorite moment in Animal House, the moment that confirms that what I’m watching is truly American, comes near the end…

    At this point, our heroes in the Delta Tau Chi (aka Animal House) have all been expelled by Dean Wormer (a wonderful John Vernon). They now have nothing to lose and desperately want revenge, especially against their mortal enemies: the stuffy, preppy, and conformist snitches in the Omega Theta Pi house.

    It just so happens that the next day is homecoming, so the Deltas come to the wise decision that this “situation absolutely requires a really futile and stupid gesture be done on somebody’s part.” And so, they spend the evening building a parade float — a giant pink and white cake emblazoned with the words EAT ME.

    The Omegas, of course, have their own float, a stuffy, preppy and proper one with a giant papier-mâché head of President Kennedy (the movie is set in 1962) and two clutched hands — one black, one white — emblazoned with the word TOGETHERNESS.

    And then it happens… The giant EAT ME float smashes into the TOGETHERNESS float, ripping apart the black and white hands.

    The moment is gloriously inappropriate, gloriously “problematic,” gloriously American, and there is no way in hell, under any circumstance, Animal House could get made today…

    Confederate flags – check.
    Racial humor – check.
    Distrust of authority – check.
    Disgust towards institutions – check.
    Objectification of the female form – check.
    Gratuitous nudity – check.
    The male gaze – check.
    Gay jokes – check.
    Animal abuse – check.
    Use of the word “retard.” – check.

    I’m in love with a retard.
    Is he bigger than me?


    And that’s just off the top of my head.

    While Animal House has always been one of my all-time favorite movies, last night I watched it again for the first time during the Woke Nazi era and enjoyed it more than ever. The tight-assed Hitler Youth currently rampaging through our culture have added something divine to movies like Animal House — the taste of the forbidden. And it tastes so good…

    Keep in mind that Animal House isn’t opposed to “togetherness.” That’s not the message of the moment described above. The message is an attack on the hypocrisy and phoniness of a snotty establishment that preaches “togetherness” while practicing the worst kind of class snobbery. (Sound familiar?)

    Of course, even in its own time, Animal House was already irreverent and sticking a finger in the eye of the conformist establishment. But at the time, in 1978, our culture was still free to be anti-establishment, to shock, to offend; and our artists were on our side… They were the good guys. They were Delta House. Today our artists are Omega House — the stuffy, preppy, and proper snitches, the fascist hall monitors demanding joyless conformity and censorship.

    I’ll give you a real-life example…

    One of Animal House’s most iconic scenes is when our heroes burst into an all-black roadhouse and are met with only glares, threats, and switchblades from the black patrons.

    Do you mind if we dance with your date?

    Fearing blacks would literally riot over the scene, the suits at Universal wanted it removed. Director John Landis fought to keep it. Finally, Richard Pryor was brought in to take a look and said, “Keep it. It’s funny.” And at all the test screenings, blacks laughed just as hard as whites.

    Yes, the scene is filled with black stereotypes. But — and this is important — it’s also filled with white stereotypes. What makes the scene work (and beyond brilliant) is that it has the courage to knock our heroes off their pedestals. By this time, we’ve been with these guys for more than an hour, and the whole time they’ve been glib, cool, and impossible to catch off guard. But as soon as they find themselves among a group of people who are much cooler, they become the awkward nerds, the tone-deaf stooges; their glibness fails them and they’re forced to run screaming out of the place — an act so cowardly, they leave behind their dates.

    All that ingenious (and hilarious) nuance would be completely lost if that scene were to show up in a modern-day movie. The film would be trashed as racist, blacklisted, and savaged by a mindless mob brandishing a million hot takes and CNNLOL hate campaigns. But the truth, for those who still care about the truth, is that this is exactly the kind of humor that dissolves differences. Nothing is healthier, nothing brings us closer together than a group of people from different backgrounds sitting in a dark theater laughing at themselves.

    At the end of the day, Animal House is a very moral movie that teaches the crucially important lesson about the importance of individualism, of being your own man, going your own way, of not selling out just to fit in. Even those who try to fit in with the wild and messy Delta House crowd are taught a lesson. After Flounder (Stephen Furst) fails to stick up for himself and his brother’s car is destroyed, Otter (Tim Matheson) memorably informs him, “You $#@!ed up. You trusted us!”

    Mostly, though, Animal House is a vital and crucially important lesson in distrusting institutions and authority, as well as standing up to and against conformist bullies. What’s more American than that?

    At the time, Animal House was described as a slobs versus snobs movie. Today, you could just as easily describe it as a deplorables versus social justice warriors movie.

    When Bluto smashes a pretentious hippie’s guitar, he speaks for all of us.

    One thing that shouldn’t be forgotten, though, is just how good the movie is. Animal House spawned a decade of these types of comedies, and some of them are very good, but on the basic level of pure movie-making, the grand-daddy of them all is perfectly directed, shot, acted, structured, and scored. Everything from the casting to the cinematography to the performances are impeccable.

    And now we can thank the Woke Nazis for making what was already a perfect movie even better.

    Daring to sit down and watch Animal House today, or better yet, screening it for your (age-appropriate) children, grandchildren, and younger siblings…

    In this fascist era of blacklists and censorship, these are revolutionary acts.
    Another mark of a tyrant is that he likes foreigners better than citizens, and lives with them and invites them to his table; for the one are enemies, but the Others enter into no rivalry with him. - Aristotle's Politics Book 5 Part 11



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  3. #2
    Outstanding! It's been year's since I've visited this work of genius.

    It will be a toss up of whether I use Shakespeare's 'St. Crispin's Day' speech to rally the troops come Zero-Now-Thirty or Bluto's

    "Was it over when the Germans bombed Pearl Harbor?"

  4. #3
    We should start a thread on movies that would never be made in today's culture.

    My vote: Blazing Saddles.

  5. #4
    Sorry, I would not promote anything that would line the pockets of these people. They are the enemy against us regardless at one time they made funny movies.

    I have turned it all off. But that is just because since I know too much truth what pieces of $#@! most of them are and how they are all part of the same club against us. It is just one big propaganda machine that has destroyed so many lives either directly or through their propaganda machine.

  6. #5
    "The negroes took our dates!"

  7. #6
    Quote Originally Posted by phill4paul View Post
    Outstanding! It's been year's since I've visited this work of genius.

    It will be a toss up of whether I use Shakespeare's 'St. Crispin's Day' speech to rally the troops come Zero-Now-Thirty or Bluto's

    "Was it over when the Germans bombed Pearl Harbor?"
    Nothing is over until we say it's over!

    Last edited by Anti Federalist; 02-07-2021 at 09:11 PM.
    Another mark of a tyrant is that he likes foreigners better than citizens, and lives with them and invites them to his table; for the one are enemies, but the Others enter into no rivalry with him. - Aristotle's Politics Book 5 Part 11

  8. #7
    Quote Originally Posted by Pauls' Revere View Post
    We should start a thread on movies that would never be made in today's culture.

    My vote: Blazing Saddles.
    Trading Places
    Another mark of a tyrant is that he likes foreigners better than citizens, and lives with them and invites them to his table; for the one are enemies, but the Others enter into no rivalry with him. - Aristotle's Politics Book 5 Part 11

  9. #8
    Quote Originally Posted by Pauls' Revere View Post
    We should start a thread on movies that would never be made in today's culture.

    My vote: Blazing Saddles.
    Quote Originally Posted by Anti Federalist View Post
    Trading Places
    Soul Man

    (Note that the stipulation was "movies that would never be made [today]", not "good movies that would never be made [today]" ...)
    The Bastiat Collection · FREE PDF · FREE EPUB · PAPER
    Frédéric Bastiat (1801-1850)

    • "When law and morality are in contradiction to each other, the citizen finds himself in the cruel alternative of either losing his moral sense, or of losing his respect for the law."
      -- The Law (p. 54)
    • "Government is that great fiction, through which everybody endeavors to live at the expense of everybody else."
      -- Government (p. 99)
    • "[W]ar is always begun in the interest of the few, and at the expense of the many."
      -- Economic Sophisms - Second Series (p. 312)
    • "There are two principles that can never be reconciled - Liberty and Constraint."
      -- Harmonies of Political Economy - Book One (p. 447)

    · tu ne cede malis sed contra audentior ito ·



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  11. #9
    The Gloriously Inappropriate and Problematic ‘Blues Brothers’ (1980)

    https://www.breitbart.com/entertainm...brothers-1980/

    John Nolte 12 Feb 2021

    Under the belief it was the movie that would most offend today’s Woketards, last week I wrote about the gloriously inappropriate and problematic Animal House (1978). Finding myself in a Belushi mood, a few days later, I watched his next hit, 1980’s The Blues Brothers, and quickly realized today’s Hitler Youth would hate this one even more — a whole lot more.

    You have no idea how blessed I was to come of age in the 70s and 80s, two of the freest decades, not only in our country’s history but in world history. By 1970, Hollywood’s self-censoring Production Code had been dismantled, the great Norman Lear had pushed the boundaries of television with his masterpiece All in the Family, and suddenly nothing and no one was off-limits. There were no more sacred cows. No limits on satire. No protected groups.

    And do you want to know the best part? Almost all the satire was good-natured. When a Carlin, Pryor, Lear, and Saturday Night Live took a shot at you, you couldn’t help but laugh at yourself — which is the healthiest of medicines for the human spirit.

    We were truly free then. So free… And like young people do, I took it all for granted — just assumed it would always be that way.

    Well, look at us now… We live in a literal Woke Police State run by Big Corporations. Ironically, this was something Hollywood frequently warned us about — and now Hollywood is one of our most fascist enforcers. McCarthyism and blacklists have returned with a vengeance.

    Well, as the (soon-to-be-blacklisted) Python boys famously suggested, you should “always look at the bright side of life.”

    So, yes, there are some benefits to Woke McCarthyism… First off, it’s kind of fun to feel like an outlaw just for daring to enjoy a movie. Secondly, we certainly live in interesting times. Finally, now that movies like Animal House and The Blues Brothers have become the forbidden, like all things forbidden, you cherish and enjoy them all the more.

    The Blues Brothers was always a terrific movie, a legitimately great musical-comedy. It’s aged into something even more beautiful, though, and not just because of Woketardism.

    You see, in the 41 years since its release, we’ve lost all the legends the movie paid such affectionate tribute to: Aretha Franklin, Cab Calloway, Ray Charles, James Brown, and John Lee Hooker. They’re all gone now, and what a treat it is to watch them up on the screen strutting their magic. Each of their numbers, most especially Aretha’s “Think” and Calloway’s “Minnie the Moocher,” is a total show-stopper. You can’t help but sit with a big grin on your face mixed with an ache in your heart.

    Yes, Giants once walked the earth … including John Belushi.

    Best of all, you can sense the reverence John Belushi and Dan Aykroyd (who co-wrote the script with director John Landis) have for these giants. Not only are they eager to introduce their idols to a new audience, but during their respective musical numbers, Aykroyd and Belushi stay almost entirely out of the way. They generously (and appropriately) allow their musical heroes to shine alone in the spotlight.

    Both the movie and musical history are better for it.

    Before we get to listing all the woke sins, a quick rundown of the plot…

    The Blues Brothers are Jake Blues (Belushi) and Elwood Blues (Aykroyd), two brothers who believe in only one thing: honoring, playing, and keeping the blues alive. Offstage and on, they wear the blues uniform of a black suit, black tie, black fedora, white shirt, and sunglasses.

    Elwood: There’s 106 miles to Chicago, we’ve got a full tank of gas, half a pack of cigarettes, it’s dark out, and we’re wearing sunglasses.

    Jake: Hit it.

    After Jake’s release from prison, Elwood picks him up in the Bluesmobile (an old police car) and they pay a visit to “the penguin,” a Roman Catholic nun (Kathleen Freeman) who runs the orphanage the brothers were raised in. She needs $5,000 to pay the taxes or the city of Chicago (where the movie is set) will close her down.

    Now that they’re on a mission from God, Jake and Elwood decide to get the band back together and put on a show to raise the money. Along the way, they’re hunted by the police, Nazis, rednecks, a crazed ex-girlfriend (Carrie Fisher), and their parole officer (John Candy).

    Jake: We’re putting the band back together.
    Mr. Fabulous: Forget it. No way.
    Elwood: We’re on a mission from God.

    Let me explain the rest of the plot this way… For nearly 20 years, The Blues Brothers held the record for the most cars crashed in a single movie (the record was broken by the uninspired 1998 sequel, Blues Brothers 2000).

    Our Lady of Blessed Acceleration, don’t fail me now!

    This plot might sound simple, but the heresies committed herein against the Religion of Woke are almost too many to count…

    I’ll do my best.

    A movie based entirely on cultural appropriation…

    Jake and Elwood Blues are walking, talking, living, breathing sins of cultural appropriation — white guys who sing the blues. Woke heads would explode 20 minutes into this thing. But allow me to say this…

    Cultural appropriation is, by any objective and moral measure, a good thing — a very good thing. The whole idea of America is culture appropriation or “out of many one” — which is our national motto (e pluribus unum). We should all be grabbing hold of the best from everyone else’s culture. On top of laughing at ourselves, cultural appropriation bridges differences and bring us together…

    To keep us divided, however, the Hitler Youth of Woke have turned a moral and unifying thing into a sin.

    Faith in God and America…

    There’s no irony or anything tongue-in-cheek about Jake and Elwood’s mission. While Aykroyd’s dry recitation of “We’re on a mission from God” is hilarious, the brothers truly believe this and, most importantly, so does the movie. Belushi is literally hit with the Holy Spirit in a Christian church (how could he not with James Brown preaching?).

    Yes. Yes. Jesus H. tap-dancing Christ… I have seen the light!

    And it is also during this moment where Elwood — and again without irony — expresses his love for America.

    Reverend Cleophus James [Brown]: Praise God!

    Elwood: And God bless the United States of America.

    Government is the villain…

    Our heroes are out to save a Christian institution from being closed down by the government over property taxes.

    The glory of “insensitivity” reigns supreme…

    There are fat jokes, sex slave jokes, and at one point, Jake impersonates an Arab trader. Ray Charles repeatedly fires a gun at a kid, Carrie Fisher looks sexy as hell posing with an assault rifle, women run around in bikinis, and people look cool smoking cigarettes.

    So much glorious “sexism”…

    Carrie Fisher plays a crazed stalker, Aretha Franklin is a nagging wife, Twiggy is left outside a cheap motel waiting for Elwood…

    That’s it. That’s all the women are allowed to do.

    Nazis played for laughs…

    The Nazis, or to be more precise, the “Illinois Nazis” (led by the great Henry Gibson), are played entirely for laughs. This, of course, is the smartest and most effective way to marginalize Nazis — you turn them into a joke. But if this were done today, the cries of That’s not funny! would never cease.

    Oh, and there’s even a gay Nazi.

    I’ve always loved you.

    And now we come to the movie’s most unforgivable act of Woke Heresy….

    Race is never mentioned… Not even once.

    Although this is a movie populated with black and white characters and premised on the blues, never once is race raised as an issue. The Nazis aren’t even motivated by race. They’re just angry at the Blues Brothers for driving them off a bridge. The “rednecks” aren’t motivated by race. They’re angry over having their gig stolen. A centerpiece scene takes place in a honkytonk. Race is never mentioned.

    Elwood: What kind of music do you usually have here?

    Claire: Oh, we got both kinds. We got country and western.

    Throughout, we see blacks and whites sing, dance, argue, joke, travel, and perform together, all in a spirit of brotherhood.

    This is deliberate, one of the overriding themes of the movie, one Elwood dares to speak out loud when he tells a massive crowd of people from all walks of life:

    We do sincerely hope that you all enjoy the show and please remember people, that no matter who you are and what you do to live, thrive, and survive, there are still some things that make us all the same: You, me, them! Everybody! Everybody!

    Like Animal House, and despite its R-rating (only for the occasional F-word), The Blues Brothers is ultimately a very moral movie. This is a story about redemption, brotherhood, recognizing our shared humanity, ignoring skin color, thumbing your nose at authority, accepting responsibility, the futility of grudges, and pursuing a cause greater than self.

    And because of all that, because of all that goodness and good humor and colorblindness and ennobling of the human spirit, The Blues Brothers could never get made today — at least not without everyone involved getting blacklisted by today’s Woke Nazis.
    Another mark of a tyrant is that he likes foreigners better than citizens, and lives with them and invites them to his table; for the one are enemies, but the Others enter into no rivalry with him. - Aristotle's Politics Book 5 Part 11

  12. #10
    When comedy was funny

    Don't need a weather man to know which way the wind blows

  13. #11
    To me, the most memorable moment of Animal House was the very end, when we find out the most psychotic, selfish, undisciplined character wound up a senator with the title "Honorable" in front of his name.

    I was just a kid and the idea that Congress was full of sociopathic overgrown children was completely contrary to my programming. And yet, it was undeniable.
    Quote Originally Posted by Swordsmyth View Post
    We believe our lying eyes...

  14. #12
    Quote Originally Posted by acptulsa View Post
    To me, the most memorable moment of Animal House was the very end, when we find out the most psychotic, selfish, undisciplined character wound up a senator with the title "Honorable" in front of his name.

    I was just a kid and the idea that Congress was full of sociopathic overgrown children was completely contrary to my programming. And yet, it was undeniable.
    Had that scene in poster form, Belushi driving off with Bab's sister in DiPasto's Olsdmobile: Senator and Mrs. John Blutarsky.

    Right next to that was the poster of a line from The Wall:

    "Mother should I trust the government?"
    Another mark of a tyrant is that he likes foreigners better than citizens, and lives with them and invites them to his table; for the one are enemies, but the Others enter into no rivalry with him. - Aristotle's Politics Book 5 Part 11

  15. #13
    Quote Originally Posted by Anti Federalist View Post
    Nothing is over until we say it's over!

    9/11 Thermate experiments

    Winston Churchhill on why the U.S. should have stayed OUT of World War I

    "I am so %^&*^ sick of this cult of Ron Paul. The Paulites. What is with these %^&*^ people? Why are there so many of them?" YouTube rant by "TheAmazingAtheist"

    "We as a country have lost faith and confidence in freedom." -- Ron Paul

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    Quote Originally Posted by Brian4Liberty View Post
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    The only way I see Trump as likely to affect any real change would be through martial law, and that has zero chances of success without strong buy-in by the JCS at the very minimum.

  16. #14
    Porky's, Revenge of the Nerds, Private School for Girls

    not for the racial but the sexual.



    Installed hidden cameras here

    A lot of 70s porns wouldn't just be non PC to make, but illegal to make today. A lot of them. Even classics like Pretty Peaches. Desiree gets into a car wreck and is discovered unconscious next to her Jeep in the woods. They determine that she is not dead. Silvera, "what should we do? Loosen her clothes? How much is the right amount? Looser is better." Then Silvera has sex with her. She really doesn't actually wake up, or say anything. And then she does wake up after they're done and she has amnesia. That wouldn't work today, in a world where girls show up to a indie rock stars hotel room, they all voluntarily go to his bed, 1 gives him a BJ, the other 2 don't and later, one of the ones who didn't complained, and the indie rock star was kicked out of the band after facebook complaining.

  17. #15


    Blazing Saddles: 1974

    Cultural appropriation.
    Racial parody.
    Implied Lynching.
    sexual innuendo.
    Animal abuse
    Elder Abuse.
    Socially unacceptable behavior.
    Objectification of women.
    Social injustices.
    Arson
    Rape
    KKK
    extreme stereotyping



    Mel Brooks work of genius.
    Last edited by Pauls' Revere; 02-13-2021 at 11:59 AM.



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