How can any living human being watch these videos and not become enraged at the sheer evil of it all?
12-year olds call in and sing songs that testify to their willingness to die for allah. Nice fellow, this allah who wants to see little children kill other little children. Nice people, these palestinians who so gleefully poison the minds of yet another generation, and by so doing curse them to a rubble-filled life of failure, pain and death.
In the face of such towering malevolence the following may sound trite, but it is nonetheless appalling to use Mickey Mouse, of all things, as the container for this twisted brainwashing; as the iconic symbol of America's belief in progress, through being the agent of change in one's own life, Mickey Mouse is as far removed from the self-perpetuating cycle of failure that is palestinian culture as one could get.
Born out of frantic necessity, Mickey was the brainchild of two extraordinary men, Walt Disney and Ub Iwerks. When Disney lost most of his staff and the star character they were creating, through the unscrupulous sharpster a step up from him in their distribution chain, Walt could have whined and complained, succumbed to the paralyzing despair of depression, or gone into another business; instead he chose to keep going, start fresh and try again with a new character, soon to be known the world over as Mickey Mouse.
The delegation of creative labor being as it was in studios in those days, much of the mechanical aptitude that Mickey exhibits in his first few years of films comes from the hand that drew him, Walt's old friend Ub Iwerks, as gifted in mechanics as he was with cartooning. Iwerks love of tinkering with machinery and mechanical innovation helped Mickey conquer a new frontier: sound film, positioning the Disney studio into a role of artistic leadership that the company only relinquinshed decades later. Iwerks relished working in an exciting juxtaposition of spontaneous invention and thorough pre-planning, allowing him to become the most prolific animation artist in that young medium's history. Creative differences pushed the two partners apart, yet Mickey's popularity continued to climb, his shell now "animated" by the happy-go-lucky, never-say-die, shrug-off-your-problems attitude of the guiding spirit similarly breathing life into the whole studio emerging around him.
Walt Disney was the type of ambitious crafstman who was continually attracted to new challenges, always pursuing a vision of entertainment that seemed tantalizingly out of reach, thereby improving at his trade, even when failing to achieve his goal; in failure he would still be going forward. Working in what can so easily remain a solitary art, and a formulaic business, Disney forged a new division of labor, turning the art from a group effort towards a Team effort, gaining the unexpected artistic treasure that this more complex form ensured, for now each participant got to measure and compete and compliment every other participant's efforts.
Disney went further than any of his contemporaries in his perceptive assessment of an employee's talent, where each individual contributor was acknowledged as being an actual individual, capable of a unique contribution. Whole new specialized departments would be created, based entirely on an individual's demonstrated specialty; some of these adaptations proved more practical than others, but to Disney such risks were merely the nature of his business. Delicately, yet unhesitantly, a constant re-assessment of production methods and techniques would constantly be underway; a creative restlessness allowing every film to be different because every film was made differently, a "like-but-not-same" panorama, the manufacturing process behind the scenes as flexible and malleable as the bouncy figures on-screen.
Sadly, as Disney's creative energies demanded trials more challenging than those he felt the world of cartoons offered him, his studio's work took on a more infantile dimension, to the point where today, Mickey Mouse is considered a character to be aimed at children. Under Walt's more hands-on direction, however, Mickey was more subtly meant to speak to the child in all of us, recalling us to the memory of more hopeful times, holding us to the promise that all children **should** cling to, that the future can be a bright, beautiful world, filled to the brim with productive possibilities. Mickey and his creator believed in acting on faith such as this; that if we can dream it, then we should be able to do it. If at first we don't succeed, spare a chuckle for the vainglorious folly that is inescapable to our human nature, then roll up your white gloves for a plucky second try.
Would that the palestinians could have adopted Disney's inner characteristics instead of stealing the physical shell produced by the end result of those attributes... then the world would be spared the horror of seeing the future being sucked out of these children, chaining them to a perpetual formula for despair in order to keep them from escaping their parents undying resentment, denying these children the love of creation that we in the west take so much for granted that we seemingly have given up dreaming ways for its light to shine over all parts of our world.
UPDATE: A busy week kept me from seeing this follow-up to the original broadcast: Walt Disney's daughter, Diane Disney Miller, calls the palestinian Mickey rip-off "pure evil":
"It's not just Mickey, it's indoctrinating children like this, teaching them to be evil," said Miller... "The world loves children and this is just going against the grain of humanity."
[HT: Little Green Footballs]