Archives For Christ & Culture

Trigger happy Disney are adding trigger warnings to the release of classic episodes of ‘The Muppet Show’.

According to the Daily Mail, Disney+ viewers will be met with the “disclaimer” stating:

“This program includes negative depictions and/or mistreatment of people or cultures. These stereotypes were wrong then and are wrong now.”

This comes a week after the behemoth entertainment company cancelled The Mandalorian star, Gina Carano for sharing a Tik Tok post to her personal Instagram account that they deemed to be “abhorrent and unacceptable.”

In essence, Carano was cancelled over comments she made paralleling cancel culture with Nazi Germany.

Carano’s point was not without some justification.

Cancel culture is largely the Leftist cultural practice of cancelling those who don’t share the left’s political ideology, sign on without question to their new cultural laws, or align with their god-like ideological hegemony.

Where Carano hit a landmine was mentioning the Jews, inadvertently invoking the Holocaust, which is, in the eyes of the far-left “expert class”, sacred ground; earning for Carano a blacklisting.

The now deleted Instagram post read:

“Jews were beaten in the streets, not by Nazi soldiers but by their neighbors…even by children. Because history is edited, most people today don’t realize that to get to the point where Nazi soldiers could easily round up thousands of Jews, the government first made their own neighbors hate them simply for being Jews. How is that any different from hating someone for their political views.”

Inferring that the suffering of six million Jews (some of whom were Jewish Christians – as testified to by Victor Frankl) is parallel to the American far-left shutting down, censoring, threatening to “de-program”, and banning Conservatives, is a no, no.

The doctrine is clear: Nothing can or should be compared to the persecution of the Jews by National Socialists.

No matter how relevant, even as far as pointing to the history as a precedent goes, to do so distracts attention away from the gravity of that tragedy.

While I share the concerns and understand them, the whole point of “Never Again” is to stop legislation like the “final solution,” buttressed as it was by ideology like “blut und boden” (blood and soil) and ‘Lebensunwertes Leben’ (life unworthy of life), from never happening again.

Banning anyone from pointing, with good reasons, to any precipice that shares relevance to 1930s/40s Germany, undermines this goal.

The Left doesn’t own the rights to the history of the Holocaust. Anyone who slams the Right for pointing out its relevance in contemporary society, isn’t preserving the memory of those who perished, they’re desecrating it because Cancel Culture is fascism proper.

It would seem that the Left like to use parallels, only if they can twist the history of the Holocaust, and human suffering, around in order to weaponize it against their political enemies.

Cancelling Carano, and hitting out against Jim Henson’s loveable and iconic series The Muppets, suggests that Disney are failing to see the light for the love of the encroaching darkness.

In real time, we see the trajectory of political sensitivities, and measuring sticks, similar to those which invaded the hearts and minds of Germans, that conditioned them to see a threat, and an enemy in the Jewish people, where there wasn’t one.  

Is it just a matter of time before Henson is given Billy Bone’s black spot, sent past the rainbow connection, straight to gaol, without collecting $200 hundred dollars, and cancelled completely?

If you think I’m jumping to conclusions, look closer.

Using the Leftist Cultural Marxist, Intersectionality rubric (aka yardstick), which is akin to National Socialists digging in a person’s family tree for Jewish heritage or Aryan purity, The Muppets are as toxic as they come:

  1. Sam Eagle is a Trump voting Nazi.
  2. Animal makes fun of people with disabilities; ableist.
  3. Dr Teeth is a racist, cultural appropriating stereotype; perpetuating a white supremacist narrative of black people.
  4. Miss Piggy’s love for Kermit isn’t inclusive enough. Ergo, “heteronormative” oppression of homosexuals.
  5. Waldorf and Statler are quintessential patriarchal misogynists.
  6. Pepe is a cisgender transphobe; negatively stereotyping Latinos as sex-crazed predators.
  7. Burt and Ernie aren’t “best friends”; they’re repressed gay-lovers forced into hiding by “bigoted homophobes” against gay marriage.
  8. Gonzo perpetuates the mistreatment of illegal immigrants by portraying them as “weirdos,” but scores points because his love for chickens celebrates “LOVE is LOVE” bestiality.
  9. Fozzie the bear is too white.
  10. The Swedish Chef’s gibberish makes a mockery of Sweden; expressing America’s toxic exceptionalism.
  11. Scooter, Bunsen and Beaker are offensive; Scooter is white privileged. Bunsen fat shames scientists, and people who wear glasses. Beaker makes fun of people with social anxiety disorders.
  12. Rawlf the dog is blackface. He negatively reinforces toxic media portrayals of the black community.
  13. Lew Zealand is anti-environment; anti-Climate justice. Zealand supports over-fishing; violence against the Climate.
  14. Crazy Harry’s penchant for explosives encourages white supremacist domestic terrorism, and might be linked to the Jan.6th Invasion of Washington D.C by “attackers, assaulting the Capitol building in an insurrection only stopped by the vigilant, benevolent, glorious Democrat leaders.”
  15. Rizzo is a Republican.

Need I say more?

If, like me you’re asking:

What kind of joyless person watches The Muppets and says “I’m offended by this; that should have come with a trigger warning, I’m now traumatised for life?”

Here’s the answer:

Deluded, practicing life unworthy of life – don’t question this, or “Zor name, vill, also go on ze list!” – Lefties, who, ironically, think that cancelling everyone who doesn’t fall in, goose step in unison and salute, puts them on the same level as allied soldiers landing on beaches in Nazi occupied France.

First published on Caldron Pool, 23rd February, 2021.

©Rod Lampard, 2021

Like Iron Maiden’s pro-life, Cold War protest song, ‘2 Minutes to Midnight, truth bombs from Independent Canadian rap artist, Tom MacDonald’s latest release, ‘Fake Woke’ epitomise a truism: sometimes truth-affirming criticism comes from the most unexpected of places.

Instead of jumping ship to ride the go-with-the-flow anti-Trump, Joebama-is-the-messiah crowd, MacDonald has gone head-to-head with the culture of fear, lies and division, that keeps the far-Left in positions of power, and helped Democrats take the Presidency.

MacDonald, acknowledging cancel culture – which arrests freedom of speech by gagging anyone speaking truths that don’t affirm or confirm to the far-Left’s ideological party-line – wrote in a tweet on the 13th of January,

‘I don’t even know if I can release any of the new music I had planned to start the year with. The risk of getting deleted/banned/removed from platforms is REAL. I’m seeing it happen to dozens of people every day.’

The song was released on January 29th. Since then, it’s flown under the radar of Big Tech censorship, and their trigger-happy, fall-in, line-up, goose step in unison, salute or else, thought police. This may change as the song’s popularity continues to explode.

So far, the only real controversy has been over MacDonald’s opening lyrics referring to Eminem and Cardi-B as hypocrites and poor role models. With Hiphop24x7, being the only Rap affiliated site so far to cover it in context, albeit briefly.

According to Popvortex, the self-released single is the current number 1 song on itunes.

However, this polling position appears to depend on where you look.

Fake Woke’ is listed nowhere on the Apple Web Top 100, but in the actual itunes store it’s sitting at number 17; with over 3 million views on YouTube since its release on YT four days ago.  

Kristin Smith’s review for PluggedIn (Focus on the Family’s online entertainment, culture and society news site) noted that the song’s ‘extremely controversial’ lyrical content comes from how the lyrics contrast with Hollywood, the music world, and “progressive” legacy media’s own bigotry.

This is exhibited by the far-Left’s oppressive intolerance towards anyone with a different opinion, or opposing viewpoint.

As per Caldron Pool editor, Ben Davis’ apt observation,

‘Bigotry is NOT refusal to affirm the opinions of the day. Bigotry is “intolerance towards those who hold different opinions from oneself.” (Oxford)

With ‘Fake Woke’ MacDonald has good reason for concern.

Humourless Cultural Marxists abusing their positions of power and perma banning whatever doesn’t suit them, or support their manipulative, forced conformity to new cultural laws, is now standard practice.

As the song states:

‘Cancel culture runs the world now, the planet went crazy
Label everything we say as homophobic or racist
If you’re white, then you’re privileged, guilty by association. They never freed the slaves, they realized that they don’t need the chains. They gave us tiny screens; we think we free ’cause we can’t see the cage. They knew that race war would be the game they need to play. For people to pick teams, they use the media to feed the flame.’

MacDonald isn’t new to controversy. His August 2020, ‘People So Stupid’ took aim at the mislabelling of heterosexual men as homophobic, because they refuse to date transgender “women”, perpetual victimhood, and abortion.

 ‘Fake Woke’ hits a similar vein, challenging Black Lives Matter, and defund the police; putting a mirror up to the face of politicians (most often on the Left) who preach anti-racism, but need racism to keep votes, and campaign dollars rolling in:

‘Segregation ended, that’s a lie in itself
That was a strategy to make us think they were tryin’ to help
They knew that racism was hot if they designed it to sell
We buy up every single box and divide us ourselves.’

Adding to this, MacDonald slams the slaying of truth, with specific reference to the slaughter of the Hebraic word “Amen” on the altar of radical feminist wokeness,

‘Censoring the facts turns our children into idiots
They claim it’s for our safety, I’ll tell you what it really is
Removing information that empowers all the citizens
The truth doesn’t damage points of view that are legitimate
They’re tryna change amen to a-men and women
How’d we let ’em make praying a microaggression?
Instead of asking God for the strength to keep winnin’
We cheat to get ahead, and then we ask Him for forgiveness.’

In an interview with Fox News, MacDonald said,

“I just thought that it’s important to point some fingers at the hypocrisy and the way the world is changing; not for the better…People have become allergic to opinions in North America in these last five years, and pretty soon they’re gonna cancel everything.”                  

As I wrote last year. The fight isn’t left vs. right, black vs. white, it’s truth vs. falsehood.

First published on Caldron Pool, 4th February, 2021.

©Rod Lampard, 2021.

The only good things to be said about the burlesque ambush of the NFL Superbowl LIV’s halftime show, is that Shakira’s and Jennifer Lopez’s vocal talent hasn’t waned, the stage effects were well coordinated and the choreography never missed a beat.

Beyond this, the scant clothing, right down to the provocative dance moves, presented another “sex sells” exhibit, displaying how far the overt sexualisation of Western culture has taken society back to a pre-Christian paganism, with its excesses and its abuses.

The principal message being sent to women by the 15 minute segment is twofold. First, if you haven’t got the sex appeal to sell talent, talent is useless. Second, provocative dance and stripping before cameras is where the money’s at.

On the outside, the principal message being conveyed to men is that the objectification of women is okay, just as long you’re willing to pay handsomely for it.

Franklin Graham was among the first to raise concerns about the overt nature of the event and its consequences:

Pastor Bob Beeman, founder of the heavy metal ministry, Sanctuary International, usually cautious in his agreement with the criticism of culture by some American Evangelicals, boldly declared:

“The Super Bowl half time show was very disturbing. With so many families watching all over the world, where is the outcry? Have we really become that desensitized? We used to call that pornographic. You can’t “unsee” that. Catering to the lust of male Super Bowl fans, and continuing the degradation of women everywhere!
For all that is in the world, the lust of the flesh, and the lust of the eyes, and the pride of life, is not of the Father, but is of the world. 1 John 2:16″

Likewise, Ryan Bomberger, Co-founder of The Radiance Foundation, stated:

“Unfortunately the halftime show ‘proved that cultural identification is apparently more important than character formation. Latino culture was not celebrated last night; it was exploited. Flashing and grabbing your crotch isn’t empowerment, no matter the “culture”. As a father of two girls and two boys, I want them to understand that their God-given equality, dignity and worth should be used to evoke love not elicit lust. (I understand this is my Christian worldview, and I can’t expect the world to share it; but fellow Christians *should*.) Funny how in this #MeToo era, entertainers seem to vie to be as naked and as sexual as possible–not on a director’s couch–but in front of over a hundred million sets of eyes. J-Lo, Shakira and the #NFL let down a generation of girls and boys who deserve so much better than the fake feminism on full display last night.’”

I’m not prescribing a return to a repressive, idea of Puritanism. Even though the idea of the Puritans being prudish, instead of prudent, is based on a misrepresentation, brought about by the post-modern disregard for history, which makes history too easily forgotten.

I’m simply stating that what people like to call post-Christian, is more a regression back towards the pre-Christian. Its deification of self and its subjugation of humanity to the idols of the old pagan world: money, sex and power.

Celebrity endorsement as a means to service an economic, social or political end is not a new phenomenon. Thomas Doherty calls this

‘the politics of celebrity’, writing that the ‘body of the Hollywood star had first been drafted into national service during World War One…In Leninist doctrine, the artist stood among the vanguard elite, a cadre whose shining example would lead the benighted proletariat into the dawn of revolutionary enlightenment…The Hollywood star, trading on stardom, is a valuable commodity that can drive heartfelt solicitation.’ [i]

Western society’s return to the inhumanity of paganism was brilliantly articulated in season five (2012) of the (modern day Robin Hood) TV series Leverage. In episode two, the crew have to thwart an owner of an Ice Hockey team, who’s turned a massive profit by turning the game into a blood sport – The CEO’s justification was backed up by his profits leading to him declaring: “People don’t pay to see a game; they pay to see my enforcers fight!” (slightly paraphrased).

The pattern established by participating stakeholders in recent years means viewers should know what to expect from the NFL half-time segment. So, vote with the remote. Let the TV fall silent for half-time, let the sound of silence be heard loudly by the industries represented, that they may bring back some class and self-respect to sport and entertainment.

Jennifer Lopez and Shakira have vocal talent. They shouldn’t need to sell their bodies, or have others sell a sexualized image of themselves, in order to showcase that talent. No woman should. The challenge for the rest of is to not buy into the voyeurism, lustful fantasy, and the greedy smiles, lies and hi-fives attached to the sex sells paradigm.

Lilly Allen’s apt sarcasm appears to have fallen on deaf ears:

‘Life’s about film stars and less about mothers. It’s all about fast cars and cussing each other; I’ll take my clothes off and it will be shameless ‘Cause everyone knows that’s how you get famous.’ [ii]

Lying underneath all this is the question: Does this capitulation to pre-Christian paganism, and did the manifestation of it in this burlesque ambush just inadvertently declare the #metoo movement dead?


[i] Doherty, T. 2013. Hollywood & Hitler:1933-1939, Columbia University Press (pp.111-115)

[ii] Allen, L.R. & Kurstin, G. 2009. The Fear, from the album, It’s not me, It’s You.  Sony Music

First published on Caldron Pool, 5th February, 2020

Cropped from a photo by Sandro Schuh on Unsplash

©Rod Lampard, 2020