Military censorship took a holiday during the Vietnam War.   Further there is material in films generally which are not discussed openly by reviewers.   Since being aware of something while denying being aware of it, an art practiced by both my community colleges, is tricky, the question of whether the film reviewers are practicing self-censorship or just allowing things to pass by unnoticed or unnoted is an open question.   In the film Joe a man who takes a ride through parental hatred for the anti-war movement ends up shooting his own daughter in the back, apparently unaware, but a message about the generation gap, however, that specific role, of shooting a generation in the back, was left to Robert Fripp of King Crimson, the  AIDS generation’s Joe. Contrary to his masculine hypocrisy an untarnished approach and exemplary conduct was not necessary to justify exposing and proving that the AIDS attack was prior meditated.

       Roberto Clemente was still alive when I first heard King Crimson’s Lizard.  I went to Pirates game with my father still at Forbes Field when I was eleven and shouted out, “If he was out I’m Rin Tin Tin.”   Those who think my father would have opposed my opinions can take comfort in his response, “Start barking.” It embarrassed and hurt me, was typical of him, and divided those who heard us between those who thought my comment stupid and his cruel.   A few churlish types leered. It shows you a child’s consternation in needing someone to help him manage his own education, and how I was caught between a rock and a hard place. But Lizard is important for several reasons, for one it exhibits the thinking of Oliver Stone and Penis Sinfield is managing the extravagant plan.   In a song about the Beatles they chime, four went on but none came back, which was scripting for the idea of Stone’s plan to stage Lennon’s murder through the looking glass of a wild palms door of perception while Hollywood gobbled the Fourth Estate.

      One of the problems with film reviewer culpability is that while one can certainly be pardoned for not detecting the shadow of Brecher over a soldier killing another, there is no question that Oliver North is alluded to in Platoon as the other officer when Stone makes his cameo (disappearing in a mushroom cloud flash) showing that they knew before Iran-Contra that partial disclosure was in the making.   It is less pardonable not to see how Sean Penn uses himself to convey a visual pun of Ostro in All the King’s Men. Curiously about Penn, it sets up from the book of that name by Penn Warren the way the Warren Brothers put together the Warren Report, because Nancy Moore is one of an entire generation who when asked about Huey Long says that book and film is how to find out. Penn Warren lied about Long.   He integrated things Joe Kennedy did to Gloria Swanson. It gets weird. There’s a pattern in the way Hollywood takes a historic figure, makes them into historic fiction and then paints the historic fiction back as explaining the real person. To say people like Oliver Stone didn’t know what they were doing is ridiculous. He was using his guru status of the zeitgeist to avenge the Jews of Israel by carping about Hiroshima.

    Oliver Stone specializes in triggering neurological responses.  He uses street blacks to make sudden movements that make you jump.  He used bacteriologicals to terrorize anyone who thinks they should tell on him about the AIDS attack.  The AIDS hysteria itself was managed with exactly the cunning and genius you would expect from Sinfield, Eno, Stone and Fripp.   They used neurological brainwash to conjure a false allegation they then said was proven simply for existing.