Boyah Christmas Movie #1 The Nightmare Before Christmas Saturday 9:30pm est

[Kalahari Inkantation]

lol

[silvertone]

It is not my fault kefka didn't decide to run his own idea

[silvertone]

Prepare yourself Boyagers

[Thyme]

^^

lol

[silvertone]

it just a movie i had on my compuiter for a long time so idk if it is good or not but The Fact that it is about correlating satanic songs with maoism it can't be bad

[silvertone]

i am going 2 stream it at 2;30 ~ish ~ idc if you come or not because i am a Bad ass Like that

[PLEASEHELP1991]

There is only one way to be an intellectual revolutionary, and that is to give up being an intellectual

[silvertone]

hi boyah i am going to stream this like hella soon

JOIN :: :  livestream.com/silvergrad

[silvertone]

no

you know i have a sensitive soul.

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that movie made little 2 no sense to me lol except a few parts.

[silvertone]

I. Sympathy for the Devil
...
Everyone knows the 1968 Rolling Stones' goofball epic, "Sympathy For The Devil." Composed in front of Jean-Luc Godard's camera for the film One Plus One, the song betrays the voodoo inculcation of their friend Dr. John, whose Gris-Gris album had become an underground hit that year. The stones had liberally cribbed from the swampy, black magic sound of that record, particularly on their song "Gimmee Shelter." Indeed, it seems that only by borrowing Dr. John's identity could the Stones break from slavishly aping the Beatles' innovations.
Initially, the song seems an unlikely choice for Godard, with its theme of Satan through history, wreaking havoc on the status quo. The lyrics actually seem to propose that the person responsible for murdering the Kennedys, Jesus Christ, and the Tsar Nicholas were, in fact, one and the same: the song's singer, who is apparently the Devil.
Godard had already engaged in an impressive flurry of filmmaking that year, having just made La Chinoise, Le Gai Savoir, and Weekend.
His films had become more polemic, more didactic, and less beholden to narrative. He had cast his lot in unequivocally with the revolutionary movements happening across the globe, in Vietnam, Cuba, and Paris.
La Chinoise sympathetically follows a Marxist cell of Parisian youths as they commit murder in the name of class war. Weekend has a bourgeois woman joining a band of hippie-cannibal guerrillas in the forest to eat her husband. La Gai Savoir posits a boy and girl making film from a new paradigm. The film One Plus One has three distinct episodes, the centerpiece being a cinema verite exposition of the Rolling Stones in the studio, trying out endless musical approaches for their new song, "Sympathy For The Devil."
As all manner of instruments are auditioned, the one constant is Mick Jagger's vocal, which never mutates at all.
What would Godard's intent be, to painstakingly document this bit of rock 'n' roll fluff? The lyrics actually equate the killing of the Tsar and the Nazi conquest of Europe as the same man's handiwork, meaning in short, that Bolshevism = Nazism. The song also seems to suggest that JFK, the man responsible for the American invasions of Vietnam and Cuba, is akin to Christ, the song's narrator's other victim.
As this seems profoundly inconsistent with Godard's Maoist viewpoint, a re-examination of the song's content is in order.
While Godard worked in the mostly academic world of film theory and art concerns, the Stones were employed by America pop radio. Though English by birth, the rock 'n' roll band lived and died at the whim of the American market, which was influenced enormously by the disc jocks and commercial television. As in any hegemony, the artist who chooses to say something that is unpopular or verboten risks dismissal. Under Stalin it was the Archipelago; under capitalism, neglect and thus artistic death.
In a pop art-form, insignificance actually surpasses death in horror, as the neglected worker actually labors for his competitors, producing ideas and songs to be resold by those who have access to radio and promotion. "Sympathy for the Devil’s chorus and theme, for example, had been lifted directly from The Satan' song "Makin' Deals," an obscure LA garage tune no one ever heard.
Because of the nature of this highly ideological and money driven medium through which the Rolling Stones lived and expressed themselves, ideas (and often ideals) had to be shrouded and concealed, as has so often been the case throughout art's history.
"Sympathy For The Devil" never actually announces that it is sung by the Devil. It merely asks the listener "Can you guess my name?" after the singer regales us with stories of his various exploits. The title of the song could be interpreted quite literally, that the song's singer is sympathetic to the archetype "Devil" or "Lucifer" (the perennial outsider), who's cast from heaven (society) by God (the power structure) for outside views. Read this way, the acts of the song's protagonist are, though widely considered antisocial, actually positive.

"I was round when Jesus Christ had his moment of doubt and pain."

This alludes to Christ's momentary reflection on his earthly insignificance, a brief return to sanity, which preceded his "son of God" megalomania.

"Made damn sure that Pilate washed his hands and sealed his fate."

Without Christ's supposed crucifixion, there would have been no martyrdom, and no burgeoning Christian movement to eventually unify Europe after spurring the disintegration of the Roman Empire. The Jews couldn't do it as they weren't an evangelical sect, and Zoroastrianism was too hard to pronounce.

"I stuck around St. Petersburg, 'til I saw it was time for a chance / Killed the Tsar and his ministers, Anastasia screamed in vain."

This lyric discusses the Bolshevik termination of the Romanov bloodline, and their subsequent changing of that city's name. These were positive developments for Russia, despite Disney's revisionist claims otherwise.

"I rode a tank, held a General's rank, when the Blitzkrieg raged and the bodies stank."

This never says what side the General in question fought for, merely that he rode in a tank while the Nazis conducted genocide. The bodies stank reference leads us to Russia, where the Nazi cruelty was worst, so the General is probably Commander Zhukov who defeated the Germans at Stalingrad and Kursk, turning the tide of the Second World War.

"I shouted out 'Who killed the Kennedys?' when after all, it was you and me"

During VH1's roundup of the 100 greatest pop songs, Charlie Watts comments on this song, saying simply, "controversial lyrics": this is what he was referring to. The Rolling Stones are supporting the unpopular lone gunman theory here, saying that Oswald was not a stooge, but an actual Socialist with a rifle, who killed the President as an act of conscience. JFK was, after all, a dangerous idiot who nearly blew up the world. The "you and me" lyric is Mick as Oswald singing directly to poor CIA mind-control victim Sirhan Sirhan and all the various federal agencies who helped murder RFK.
As the song progresses, we see now that the protagonist is not "The Devil," but the Marxist idea of dialecticism through history, the inevitable changes which lead us from exploitation -- first by kings under feudalism, and then by the bourgeoisie under capitalism -- to a Socialist government and Communist society; a process called "historical materialism." We see why Jean-Luc Godard employed the Stones, despite their seeming incongruence with his trajectory at the time. This is the reason for this particular song being played over and over in the film, with the lyric as the only constant.
"Sympathy For The Devil" was released on the LP Beggars Banquet. The record cover featured a filthy toilet bedecked with graffiti. Released in the wake of Sgt. Pepper's, Piper at the Gates Of Down, SF Sorrow, and in the same year as Tommy, the album was expected to have a cohesive presentation, and not just be a collection of songs. The Rolling Stones were nothing if not conscious of fashion and the market. The theme or concept they chose for Banquet is unmistakably Marxist, from the LP title to the songs: "Salt of the Earth," "Factory Girl," and "Street Fighting Man."
In the graffiti on the cover are written the words "Bob Dylan's Dream" with an arrow pointed to the flusher. This is a pointed dismissal of Dylan's then-recent "politics are a drag" stance. If Dylan's dream was mere hedonist escapism, the Stones considered it sewage. As the song closes, Mick cries out, again and again, "Can you guess my name?" He seems to beg us, stridently at first, then desperately, finally incoherently. And no wonder -- no one ever guessed his name. It was "Historical Materialism."

[Daddy]

What the hell?

[silvertone]

it is half of an article by Ian Svenonius comparing beatles to the stones (that is the stones part)  i think he explains why that song was used in that movie

[PLEASEHELP1991]

Winer et al. (2002) have found recent evidence that as many as 50% of American college students believe in emission theory.[3]

[PLEASEHELP1991]

Bluaki or Silvertone ought to stream the next movie xoxoxoxoxoxoxoxo