Tuesday, August 15, 2006

Now, for a little Cease Fire Entertainment!


On account there's a ragin' cease fire under way, I expect we has us a couple of hours to blow on a double feature!


First up, Song of the South.While it has been released in Europe and Asia by Disney, (cuz there ain't no chance no how there's gonna be any sorta race riots over showin' it privately in your own home) you are S.O.L. if you try to purchase it from Disney in the States, due to its politically incorrect and cruel insensitivity towards African Americans in the post bellum reconstructionist South.

The following is from a series of emails I sent to the Eloquent Mr. Lifson, with whom I have been corresponding on all things typographically erroneous. I have not put in his responses, out of respect for his privacy, but I will post what I wrote him, because I think it would make a great article:

To The American Thinker Editor:

Yes, they were ugly, but not appallingly so. Way off topic, i (sic, just sic) thought I would share this unnecessary insight of a movie I bought.

It was a pirated copy of Disney's Song of the South, and a mighty excellent copy of it, too, I must say. I bought it, not only because it was one of my favorite movies growing up, but I thought it was rather condescending of Disney to refrain from putting it out due to any PC concerns the company has about its naïve portrayal of blacks during the Reconstructionist era of the South.

So I sat watching my illegal booty, and what should come to mind but this: I loved Uncle Remus. I loved his wisdom, and his compassion and his wit. I didn't care if he was black. I didn't care if Aunt Tempie was black, either. When I watched the movie, the memories of wanting to be with them were overwhelming. I watched my niece who is 7 and my daughter, who is 9 watch Brer Rabbit try to get out of the tar baby, and how they laughed! But I didn't hear once that it was a racist cartoon, or that the whole portrayal of blacks in Hollywood was, well, you know, yada yada yada.

So I watched them as much as I watched the movie, and you know what? I feel no guilt whatsoever.

~Response from Mr. Lifson here~

From me:

If you try to buy Song of the South on ebay, you might pay throught the nose. If your computer has a dvd burner, you can copy it. The copy I have, while not completely flawless, is still quite a good copy, given the age of the movie.

I Googled 'Song of the South', and found all sorts of sellers for this movie.

I purchased my copy from http://www.songofthesouthdvdremastered.com/ for $18 plus S&H, and altogether it was less than $25.00.....and others sell it for even less...try buying Fantasia all nice and legal, and it will cost at least $35.00. So, legal or not, Song of the South is really worth having.

I read at wikipedia that the powers that be at Disney, having reviewed the film themselves (after being repeatedly asked by shareholders to release the movie) have decided on behalf of us all, that it is simply not a good movie for people to watch, due to its inaccurate portrayal of black share croppers in the Post Bellum south, which begs this question:

Why is this movie, released in 1946, deemed not worthy of viewing, while Gone with the Wind, released in 1939, is?

Don't expect any satisfactory answers, but somehow this ties in with many issues of the day. Hypocrisy being the number one export of the Hollywood elites. (We now import hypocrisy, thanks in large part to Reuters and AP, and all the other press vermin.)

Song of the South was released after WWII, and Gone with the Wind was released before the war started. I am not sure what point there is in noting that, but how we portray ourselves and how we see those with whom we are at war, both past and present, through the prism of popular culture is interesting in that the newsmedia - recorders of history and currently in total meltdown, are trying to convince people through manipulation of imagery, of truths that are not true, and villifying the innocent who merely wish to defend themselves.

Yet, in Song of the South - made at a low point of racial relations in this country - we see a priviledged white boy seeking a father figure in Uncle Remus, befriending a little girl whose class is well below his estate. If anything, this is a positive, healing sort of film. Uncle Remus is trusted by both black and white alike, and even by the boy's grandmother...so his worth, his dignity and equality are firmly and quietly established from the very first moment of the film. Uncle Remus is the Man, regardless of his humbled estate, regardless of his race. Perhaps it is unrealistic how black sharecroppers are portrayed, but look at the way the present is portrayed by the media.

Today, we get a glut of movies that unrealistically portray the races in continual struggle, seething hatred and constant warfare.

Class is pitted against class, often violently. But are these images any more truthful in their depictions of minorities and people of low caste? Are they any less divisive and controversial? One common element blatantly woven throughout today's media it this theme: In the culture of the Righteously Angered, Downtrodden and Oppressed, the victim may indeed get vengeance, but he will never be the Man.

Lastly, Disney doesn't seem interested at all in going after the purveyors of this pirated movie. I find that comical. Listen to all the howling from the movie industry about losing billions of dollars...

Alas! How they toil and suffer! But you...you thieving little know-nothing, just you try painting a picture of Mickey Mouse and Donald Duck on the wall of your daycare center and see what a pack of snarling Disney lawyerhounds gets released into the play yard.

I close with a review of the book:
"Brand Name Bullies: The Quest to Own and Control Culture (Hardcover) "

From Publishers Weekly
Starred Review. Society’s growing mania to "propertize" every idea, image, sound and scent that impinges on our consciousness is ably dissected in this hilarious and appalling exposé of intellectual property law. Bollier, author of Silent Theft, compiles a long litany of copyright and trademark excesses, many of them familiar from brief flurries of media coverage but, in his view, no less outrageous for it. Music royalty consortium ASCAP sought fees from the Girl Scouts for singing copyrighted songs around the campfire; McDonalds threatened businesses with the Mc prefix in their names; Disney threatened a day-care center that painted Mickey and Goofy on its walls; and Mattel sued a rock band that dared satirize Barbie in song. Nor is it only corporate megaliths that resort to this petty legal thuggery. Martin Luther King’s estate forbids unauthorized use of his "I Have a Dream" speech (but rents it to Telecom ad campaigns), and the author of a completely silent composition was asked for royalties because it allegedly infringed on avant-garde composer John Cage’s own completely silent composition. Bollier is a sure guide through the thickets of intellectual property law, writing in an engaging style that spotlights capitalism and its supporting cast of lawyers at their most absurd. But he probes a deeper problem: as the public domain becomes a private monopoly, he warns, our open society, which depends on the free, collective elaboration of a shared "cultural commons," will wither away. Photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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Our second feature is "O Brother, Where Art Thou?" which is supposed to be a satire on Homer's Odyssey.

Now, I reckon there's some o' that in thar, but the great thing about dish heah movie, is its language and musical soundtrack.

The art of story tellin' and tall tales and suchlike is lifted to sublime heights of celestial glory in this movie.

The fun of watching this film is all the quotable lines in it, which is just about every line in the film.

I always manage to come away from watching it with a renewed hunger for hocks and beans and corn pone, and with a lasting southern lilt in my voice, that has a way of plaguing my kinfolk for hours on end...which is like gettin' new toys for a language person, such as myself.

Go thou, brer readers, therefore, and watch these homages to the South, and be quick about it, lest you miss yon renewed outbreak of the Cycle of Violence™ sure to come.

Yours very truly, Brer Jauhara.

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