There's danger on the edge of town
Ride the king's highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby
The Doors, The End
The killer awoke before dawn. He put his American desert boots on. He took a knife from the ancient gallery. And he walked on down the hall - bathed in desert sunlight.
The killer spoke with a British accent (London's East End?) Father (Saud), I want to kill you. Mother (Langley?) I want to...
Then the sartorially composed Man in Black beheaded American photojournalist James Foley.
This is not the end, beautiful friend. It's just a new beginning in the never-ending Global War on Terror. Now starring Papa Saud's brand new bag - The Caliph and his goons. This is the way Shock and Awe morphs into "Assad must go" morphs into Islamic State of Iraq and Syria, morphs into The Caliph's Black Britannia goon responding to "humanitarian" bombing. I'm my own baby now. Watch me work. Bring it on.
Choice scenery. Good sound and vision production values. Careful editing. No unnecessary gore. No blood splattering. No Allahu Akbar
shrieks. "A Message to America", indeed - but most of all a message to the Ummah. As in we're the Men in Black
badasses. We run The Caliphate. We're no mere death cult; we're winners. And we take no prisoners.
And why did Islamic State, formerly ISIS, become winners? Because the "West" regimented, schooled, trained, logistically helped and weaponized most of IS's Takfiri goons with a mission at hand: to destroy Syria. The "West" lauded them as "Syrian rebels". Freedom fighters.
Washington even promoted Jabhat al-Nusra (the official al-Qaeda franchise in Syria, and a "terrorist organization", according to the State Department) as "good" jihadis, as well as the preferred Saudi combo, the Islamic Front.
No wonder after photojournalist James Foley was kidnapped in November 2012 the Washington-sanctioned version was that he was being kept by "Assad must go" forces in a prison near Damascus.