In 1956 the play Look Back in Anger was first staged in Britain. Written by John Osborne, it was the story of Jimmy Porter – who came to symbolise a new force in postwar Britain – the Angry Young Man. Jimmy was young, and he was furious about the staid and suffocating society which locked him out because he was working class. The old order had no place for the angry young men, homeless in their home nation. Britain’s most celebrated theatre critic Kenneth Tynan loved Look Back in Anger. To him, it contained
…all the qualities…one had despaired of ever seeing on the stage—the drift towards anarchy, the instinctive leftishness, the automatic rejection of “official” attitudes, the surrealist sense of humour, the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.
We now inhabit a world of “instinctive leftishness” which has drifted “towards anarchy” – largely through the automatic rejection of attitudes once official. The lamentable return of teh Beatles tribute Band – Oasis – to the news is inevitable as it is convenient to power. The lyrically empty anthems of the 1990s are popular with a people adrift from their own heritage. However this lifebelt of nostalgia has a far darker dimension than singalong senselessness. It was Oasis’ derivative singalong “Don’t Look Back In Anger” which was weaponised as a neutralising response to public fury at the Manchester Arena terrorist bombings on 22nd May, 2017.
Lest we forget – 22 men, women and children died in that attack, leaving hundreds with life changing injuries.
Salman Abedi – the terrorist who killed those people – was not only known to police, but he, his brother, and father fought in Libya on the side of the British State – against Gadaffi. He and his family were immigrants living in Manchester. The bomber had travelled – in his school holidays – to Libya to fight with Islamist militias. His brother joined ISIS. His father also fought in Libya for radical islamists. In 2011 Operation Odyssey Dawn was launched at the behest of then UK Prime Minister David Cameron, resulting in the murder of Gadaffi and the replacement of the most successful state in Africa with a murderous and heavily Islamised anarchy. Now why would the State not want its people to be angry about people being killed at a pop concert ? The Manchester bomber was on the side of the British State, and that of Hillary Clinton’s State Department, in fighting for the Islamists. He had warned his classmates and a community worker of his intention to commit violent jihad in Britain. These people warned the British authorities, who did nothing to stop him. On the day of the attack, a British security guard spotted the bomber looking nervous and suspicious, carrying a heavy backpack. The security guard knew something was wrong. Why did he not stop Salman Abedi? “I just had a bad feeling about him but did not have anything to justify that”, Kyle Lawler told a court in 2020,
I did not want people to think I am stereotyping him because of his race. I was scared of being wrong and being branded a racist if I got it wrong and would have got into trouble . It made me hesitant. I wanted to get it right and not mess it up by over-reacting or judging someone by their race.
With this injury to his reputation in mind, he did his duty. He wanted to “get it right”. According to State Approved Values, he did. And 22 people died. The fundamental lesson here is the ruin of instinct through indoctrination. The basic impulse to “approach or avoid” in the presence of danger is foundational to the survival of the simplest mammals. It is overwritten by slogans, sung by crowds in denial of the causes of the atrocities which arrive as regular as the buses which pass them by, as with the beheading of Fusilier Lee Rigby, or the buses which detonate, as on July 7th 2005.
The liberal state foments wars to export its system globally. Liberals started the war in Libya in which a family of terrorists was trained and radicalised to violence. These liberals have brainwashed their own people into fearing the voodoo curse of “racist” more than death. It is better that you die than be called a racist, says the Liberal-Global state which imports the people who kill you in your homeland. This is why the liberal-global state loves Oasis. This is why they love to tell you not to Look back in Anger. Because if you look back, you will be very angry indeed. The bomber, the fact he was known beforehand to police, and that he could have been stopped but for the learned helplessness of anti-racism – all forgotten in a meaningless song.
So
How did this slogan come to obscure the justified outrage at government complicity in importing terrorism? At a public vigil for the dead of the bombing, an impromptu song “broke out” in the crowd………..
Breathlessly reported as a message of hope against racist anger, which may lead dangerous minds to conclude the British State is complicit in killing its own people, the refrain of Oasis’ “Don’t Look Back In Anger” was reported to have spontaneously arisen from the mourning and visibly stunned crowd. But how did the mourners of the Manchester dead come to sing a hymn that told them immediately to forget what they were there to remember?
Rolling Stone reported : Lydia Bernsmeier-Rullow began singing as she cradled a bouquet of flowers. A few other members of the crowd joined her, tentatively at first, but by the time she got to the chorus of most of those present were singing along. After around a minute, someone in the crowd says: “C’mon, sing up!” Most of the crowd seem bemused at best, some obviously disgusted. They did not “sing along”. Lydia had no personal connection to any of the dead. She “spontaneously” began singing the tune immediately after a brief interval of remembrance. Rolling Stone did not report that Lydia Bernsmeier-Rullow is an actress who has worked with the *claxon alert* BBC. A self described “poet”, she apparently decided to speak for the people of Manchester…. But in in reality, very few people joined in at the time, as the video captured of the event clearly shows. She begins to sing the song alone. Groans are audible at first. No one joins in. Bernsmeier-Rullow’s voice warbles on, as she clutches a bouquet to herself. A voice exhorts the clearly unmoved crowd to “come on, sing up”.
The message has been adopted and amplified. Having been delivered by a BBC actress, it is now widely believed that the crowd at the vigil for the victims of the Manchester Arena bomber spontaneously burst into singing “Don’t Look Back in Anger”. This strategy of ‘controlled spontaneity’ had been hatched in anticipation of terrorist incidents at the 2012 London Olympic Games. Should a bombing or other act of mass murder occur, the primary aim was to ensure that, in the immediate aftermath, public responses conveyed empathy for the victims and a sense of unity with strangers, rather than displays of anger and retaliatory violence. Why did this woman pick this song? She said, It’s a bit of a Manchester anthem, and so I started singing as I thought it would be a nice break to the silence. That silence followed a minute to remember the dead. Then it was gone, and so were they. This example of controlled spontaneity probably arose by means of a suggestion to a suggestible person. Ruller- the actress- is the type to crave attention. Indifferent to the means and the message she conveys, the point is to take a moment and make it all about you. This makes these moments dissolve. In this case, the moment is the memory of the dead and wounded. Not to be forgotten, Oasis lead singer Liam Gallagher reportedly sent “love and light” to all those involved. Gallagher staged a solo gig after the bombing with posters reading “Never Mind the Terrorists, We Are Manchester”. A glowing report of Gallagher’s “Manchester Gig” [which] Cemented the City’s Solidarity” ran alongside condemnation of another “Manchester Idol” – Morrissey, who had released a song condemning the slogan “Don’t Look Back in Anger”.
The “spontaneous” event of singing “Don’t Look Back in Anger” is remarkably similar to the State-managed responses to every terror attack in Britain. Called “controlled spontaneity”, it is a strategy made in Britain to put what is in sight quickly out of mind. Most people now believe it actually happened as described in the press. Few people know that Abedi bought the materials for his bomb with his mother’s bank card, drawing on funds supplied by UK Taxpayers (tax credits, child and housing benefit) – even though she had left the UK for Libya a year earlier. The father was arrested, in Libya, but was “released”, & has now “disappeared”. Abedi’s house in Manchester had a black ISIS flag flying on the roof for two years before the attacks. But, don’t look back in anger, Puffins. That would be racist. It could also lead to difficult questions about the liberal-global state’s role in replacing your normal life with a permanent state of emergency. This is why the response to the downstream effects of regime change is managed by “controlled spontaneity”: You can read about how the British state shapes post-terror planning” here
This is a method that has also been used to promote Covid measures, and is currently being exported around the West to push compliance with a range of globalist-aligned narratives.
A 2019 Freedom of Information request to see UK Government materials on the strategy of controlled spontaneity has been predictably refused……….
Featured image: “Shocked Face [1]” by jnyemb is licensed under CC BY 2.0.
© DJM 2024
