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Yum. Ammunition.
Mar. 5th, 2004 09:35 amDragging myself out of bed was not easy this morning. I have about five minutes before I have to stop stalling and get my ass in the car to Curves. I'm doubly disappointed in this weather-- first it was nice, now I miss that. And it's now grungy as a Pearl Jam bootleg outside, and I feel cheated. CHEATED, I tell you!
Very odd dream this morning, though-- I dreamt I was back in London, but the place where I stayed-- which was nothing like the place I really stayed, of course-- was so immensely changed I couldn't figure out where I was once inside. It was an immense, staggeringly gorgeous building, with warrens of rooms, many long-hidden from view. So many places in my dreams are like that: I open an old, disused door, and find ballrooms and attics full of strange things. This time, however, I was either naked or horrendously underdressed, though no one seemed to notice. And I was looking for my old room, and my old mailbox, as, of course, a lot of mail's got to have backed up in 15 years. When I finally found the right place, there was a crowd of Rennies already there, including Hez. They'd had a horrible trip over, and were rehearsing for a show. I wandered my old rooms, almost jealous to find people in each one, even though there was far, far more space than I'd ever have been able to use. Echoing ballrooms, immense fireplaces, three-storey windows, and all of it hidden for years. I see such places over and over and over in so many dreams.
On one floor, however, the intricate carvings-- swags and dentils and the like-- were covered in this odd green goop. It was a busy floor, some political candidate had his office there. I asked what it was, and someone told me they were taking mouldings of all the...er...moulding, I suppose. I was happy it would be preserved.
In the end, I went to look out of a window, though I was several stories up, outside I was only a bit above the hotel's front bay for incoming cars and guests, all lamplit, with a man in a top hat. "I'm here," I told myself. "That's what's important. I'm finally back. I'm HOME."
Then 'XPN woke me with Patty Griffin's "Rain." Why does it feel so good when it hurts?
In other news, this is pretty much what we all thought would happen, so I'm not surprised. Sometimes, you really hope you'll be wrong about something in a GOOD way, instead of the usual "Well, damn!" way.
From a much longer and depressingly good article at http://www.adl.org/Interfaith/gibson_extremists.asp :
The National Alliance, the largest neo-Nazi group in the U.S., is also attempting to take advantage of "The Passion" controversy by creating special fliers just for this purpose:
* The National Alliance flier, which members have been urged to "get as many…out as possible," concentrates on the controversy over the movie, rather than its contents (presumably because the National Alliance is non-Christian and does not care about the Crucifixion). It claims that "Jewish pressure groups" have "gone to great lengths to keep you from seeing 'The Passion of the Christ.'" It asks, in large letters, "Are you tired of minority groups telling Whites what we can see, read, publish, and enjoy? YOU ARE NOT ALONE." To date, such fliers have already been distributed in Connecticut, Los Angeles, and San Diego, among other places.
* The Louisiana-based Church of the Sons of Yahweh, a racist and anti-Semitic group, created a flier for its followers to distribute, which one that claimed that "Jews Killed the Christ," that "they would kill him again were it in their power," and that they are "attempting to stop you from seeing" Gibson's movie. It ends by concluding that Jews are "the synagogue of Satan."
In the past, extremists have attempted to use Mel Gibson films to increase anti-government sentiments ("The Patriot") or white supremacist beliefs ("Braveheart"). They have, however exhibited substantially more enthusiasm for "The Passion of the Christ" than Gibson's earlier films. Anti-Semites may attempt to exploit the film for years to come.
Very odd dream this morning, though-- I dreamt I was back in London, but the place where I stayed-- which was nothing like the place I really stayed, of course-- was so immensely changed I couldn't figure out where I was once inside. It was an immense, staggeringly gorgeous building, with warrens of rooms, many long-hidden from view. So many places in my dreams are like that: I open an old, disused door, and find ballrooms and attics full of strange things. This time, however, I was either naked or horrendously underdressed, though no one seemed to notice. And I was looking for my old room, and my old mailbox, as, of course, a lot of mail's got to have backed up in 15 years. When I finally found the right place, there was a crowd of Rennies already there, including Hez. They'd had a horrible trip over, and were rehearsing for a show. I wandered my old rooms, almost jealous to find people in each one, even though there was far, far more space than I'd ever have been able to use. Echoing ballrooms, immense fireplaces, three-storey windows, and all of it hidden for years. I see such places over and over and over in so many dreams.
On one floor, however, the intricate carvings-- swags and dentils and the like-- were covered in this odd green goop. It was a busy floor, some political candidate had his office there. I asked what it was, and someone told me they were taking mouldings of all the...er...moulding, I suppose. I was happy it would be preserved.
In the end, I went to look out of a window, though I was several stories up, outside I was only a bit above the hotel's front bay for incoming cars and guests, all lamplit, with a man in a top hat. "I'm here," I told myself. "That's what's important. I'm finally back. I'm HOME."
Then 'XPN woke me with Patty Griffin's "Rain." Why does it feel so good when it hurts?
In other news, this is pretty much what we all thought would happen, so I'm not surprised. Sometimes, you really hope you'll be wrong about something in a GOOD way, instead of the usual "Well, damn!" way.
From a much longer and depressingly good article at http://www.adl.org/Interfaith/gibson_extremists.asp :
The National Alliance, the largest neo-Nazi group in the U.S., is also attempting to take advantage of "The Passion" controversy by creating special fliers just for this purpose:
* The National Alliance flier, which members have been urged to "get as many…out as possible," concentrates on the controversy over the movie, rather than its contents (presumably because the National Alliance is non-Christian and does not care about the Crucifixion). It claims that "Jewish pressure groups" have "gone to great lengths to keep you from seeing 'The Passion of the Christ.'" It asks, in large letters, "Are you tired of minority groups telling Whites what we can see, read, publish, and enjoy? YOU ARE NOT ALONE." To date, such fliers have already been distributed in Connecticut, Los Angeles, and San Diego, among other places.
* The Louisiana-based Church of the Sons of Yahweh, a racist and anti-Semitic group, created a flier for its followers to distribute, which one that claimed that "Jews Killed the Christ," that "they would kill him again were it in their power," and that they are "attempting to stop you from seeing" Gibson's movie. It ends by concluding that Jews are "the synagogue of Satan."
In the past, extremists have attempted to use Mel Gibson films to increase anti-government sentiments ("The Patriot") or white supremacist beliefs ("Braveheart"). They have, however exhibited substantially more enthusiasm for "The Passion of the Christ" than Gibson's earlier films. Anti-Semites may attempt to exploit the film for years to come.