Tag Archives: jews

news with natalie 08302010

time for an update! here are the most important things of the day (if you happen to be looking at the world through a kaleidoscope, like i am).

ONE: corgis on a treadmill? why??? check out this adorable video. i know there are really only two corgis…but are there really only two corgis?! YOU decide!

TWO: iowa contributes to national news? this is definitely newsworthy. iowa state used their carillon to play lady gaga’s BAD ROMANCE. the video is over five minutes long (which may be longer than the actual song), so don’t waste your time watching it. just revel in the fact that iowa is once again leaving its mark on this amazing nation.

THREE: angry man tries to pay his property tax with 33,000 pennies. i love this story so much, but that’s really all there is to it. he went to the treasurers office and tried to pay his $330 property tax, in pennies, but was DENIED. justice? where is the JUSTICE? if you want to read more about this amazing story, check it out here on gawker.

FOUR: oh my godddd, can you even handle this photograph? i love this so much, mostly because of this quote: ‘once the shock wears off, i’m sure she’ll say yes.’ yeah? are you sure? who is this guy anyway? it doesn’t matter. anyway, in reference to this photo, i say mostly because let’s not forget his amazing pants, tan, or tattoos. his dead stare makes me wish he was asking me. but i digress.

FIVE: this faaaantastic gem of a german man, thilo sarrazin finally broke the silence about jews, and said that ‘all jews share a certain gene.’ yeah? cool! maybe we should put them somewhere where they can all be together, comfortably. maybe…in a…camp! sorry thilo, someone already thought of that. read more on that here.

well, that’s that! see you next week for news with natalie!

love always,
nataliebeth

HELLO! Ann Coulter!

here are some videos that will give you a good feeling:

(taken from |LACONIC||ORATION|)

nataliebeth

related posts:

Lieberman really sucks (but not for party-hopping)

If you don’t know the situation, Sen. Joe Lieberman, former Democrat and current independent*, spoke on behalf of McCain at the Errrrrpublican Convention last night.  His remarks centered almost completely on the war.  That should be no surprise because that’s really Liberman’s only topic – not the war specifically but rather THE MIDDLE EAST.

Lieberman is Jewish and most of the time this wouldn’t matter in the least but this inclination informs 100% of Lieberman’s decisions.  I’m not talking about moral decisions but rather foreign policy and Israel which is super dangerous since he’s head of the Foreign Relations committee.  Having Lieberman in congress is like having a senator representing Israel.  He’s so biased it’s ridiculous and his love for Israelis and hatred of Arabs, Persians and Afghanis has given him all the motivation he needs to be among the most hawkish politicians in Washington.

He may have been a big, juicy liberal at one point but now all of his politics boil down to matters of Israel.  Since that’s the only issue that matters to him he might as well just join the Republicans since the one issue he cares about lines up with their policies on the matter.

*Lieberman is technically an independent but he “caucuses” with the Democrats, meaning he counts toward their majority in the senate.

kicknz

“Master Race” by Bernie Krigstein

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Bernie Krigstein is an unknown figure, even to most comic art devotees. I’ve been reading comics and books about comic history for most of my life, and sadly have only the most cursory knowledge of the man’s work. Most of what I do know comes from mentions made by Frank Miller acknowledging the mammoth influence Krigstein had on him. He was only in comics for less than a decade but during that time, and especially during his tenure with E.C. Comics, he experimented with a style based in gritty noir that was decades ahead of its time in how comics could be created, in its subject matter and pacing.

Even though his time at E.C. led to his most acclaimed work, he was still under the strict confines of his editors, who routinely changed his artwork and wouldn’t let his stories go over eight pages. The only time Krigstein was allowed to do a story exactly as he envisioned it was in the pages of “Impact”, a short-lived anthology title mostly made up of twist-ending shockers. Tucked away at the very back of the first issue of “Impact!” was “Master Race”, which, admittedly, could also be classified as a twist-ending shocker, with a major difference: It dealt explicitly with The Holocaust, something that was barely seen in mainstream media at the time, let alone in a comic book.

Taken from Wikipedia:

“When EC published “Master Race” in 1955, there was little in the mass media about the murder by the Nazis of millions of Jews, Gypsies, political oppositionists and homosexuals. The images of crowded gas chambers, mountains of corpses piled like cordwood, and smoke from the burning bodies continuously spewing out of tall chimneys had not yet established themselves in the public consciousness. The material was there, however. You just had to look for it. Margaret Bourke-White‘s Life magazine photograph of almost-dead staring faces behind barbed wire — shot at the evacuation of a concentration camp) at the end of World War II — was sometimes reprinted. This now-familiar photo is echoed in page four, panel five of “Master Race,” as well as in Art Spiegelman‘s 1972 version of Maus (in his book Breakdowns). Five Chimneys: The Story of Auschwitz, a harrowing account by Olga Lenyel, a death camp survivor, was published in 1947. Eugen Kogon’s Theory and Practice of Hell, detailing the horrible workings of the German death camps, was published in 1950. The facts began to surface about the incredible numbers murdered and the cold-blooded, single-minded efficiency with which it was done. Many Americans began to discuss the unspeakable crimes of the Holocaust, but most just found it all too hard to believe. Krigstein’s “Master Race” was therefore an exceptional undertaking. As their contribution to the anti-German propaganda effort, wartime movies and comic books had shown concentration camps and Nazi brutality. But never had they shown the death camps (as distinct from concentration camps) and the unique atrocities such as “medical” experimentation on living people… Krigstein’s piece didn’t spare the sensibility and complacency of the postwar reader. On page four, panel seven, ordinary citizens cover their noses with handkerchiefs against “the stinking odor of human flesh burning in the ovens… men’s… women’s… children’s…” Book burnings, mass live burials, a quiet clinical scene of an operation on a human guinea pig — “Master Race” starkly depicts the madness of the Nazi period in Germany as well as the burning vengeance inspired by these unspeakable crimes.”

It’s really a shame that Krigstein wasn’t given more control over his work, because if “Master Race” is anything to go by, the results would have been absolutely phenomenal. I’m excited to read the art book of his work published by Fantagraphics, in conjuction with a volume of his selected comics work. As for “Master Race”:

“Master Race” (Impact, No. 1, March/April 1955)

miloprometheus