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Are we at a Turning Point? Trump, Israel, and America’s Endless Wars
As I write this Trump is lashing out at Israel in a way that no U.S. president ever has, saying they “don’t know what the fuck they’re doing” and stating the simple fact that they have violated the ceasefire he announced on his social media platform. Iran is also stating that Israel has broken the temporary truce announced by Trump, with the Mehr and ISNA news agencies saying there have been explosions in Babol and Babolsar cities in Mazandaran. The initial announcement by the U.S. president, which seemed to many to be tenuous at best, and a farce at worst, appears to have collapsed before it ever held.
The source of this immediate disintegration of the ceasefire is Israel, who clearly never wanted peace to begin with. Trump is now face to face with the reality that Israel is the belligerent in the region, attacking Syria and Lebanon and Iran all while never ceasing their genocide in Gaza and constantly and illegally encroaching further into the West Bank.
For his many flaws, Trump’s approach to politics sometimes brings contradictions into focus, and here he has brought the global mainstream conversation face to face with having to admit the simple basic truth, that no U.S. administration has confronted in decades: Israel is the primary source of violence and conflict across the Middle East.
All of this is not to say that Trump will suddenly hold Netanyahu and the Israeli government to account, but rather that he is now at a crossroads with the dominant Western narrative. We have reached a point, collectively, of the status quo no longer being tenable. The genocide in Gaza and the norm of endless war have collided with rapidly changing perceptions brought about by a shifting media landscape and by decades of organizing and dialogue by Palestinians, anti-Zionists across the world, peace activists and more. And Trump somehow finds himself operating near the center of this collision. He can either be embarrassed and dogwalked by genocidaires, or take material action to hold them to task. That has always been the calculus, under both parties. And in recent years both Biden and Trump have thus far chosen to willingly be undercut on the global stage rather than take any material action to halt Israel.
This calculation comes from the power of AIPAC, from the massive Christian Zionist lobby, from the way presidents and others have internalized Zionist propaganda, and above all from the typical convergence of interests where Israel’s constant violence aligns with, and is a tool of, the interests of the U.S. empire and the military-industrial complex. But we might be seeing something different right now. It’s too early to tell how intent Trump is on curbing Israel, although his recent public statements do deviate from his predecessors.
But what’s really different is public sentiment. The U.S. public is deeply fed up with endless war in the Middle East. It’s a sea change from 22 years ago where a few weak lies were enough to get Americans riled up about invading Iraq under false pretenses. We’re in a different era, and that may mean an opportunity for peace presenting itself.
So many of us remember the Islamophobia and bloodlust that swept the U.S. after 9/11. It wasn’t just a “natural” reaction to the attack, it was a deliberately manufactured fervor, a whipping up of hatred and anger and violence. It led to two endless and disastrous wars, and between 4-5 million people dead in the fundamentally dishonest “war on terror”.
But twenty years of those wars did change minds. Trillions were spent, civilians killed, soldiers died and lost limbs all for nothing. No good came from 20 years of slaughter, as the anti-war camp claimed from the beginning. Today staying away from endless wars is such a popular sentiment that Trump vaguely ran on it. Serious people never trusted him, but if that man has one skill it’s seeing which way the wind is blowing. He and his camp know what polling confirms: war is unpopular. Israel’s genocide is similarly unpopular. So the idea of going to war with Iran for Israel is, unsurprisingly, supported by only a tiny fraction of the population.
That doesn’t mean the efforts to manufacture consent didn’t come around again, of course. Trump world briefly tried to convince people that we needed to bomb Iran’s nuclear sites, and CNN, Fox, and other outlets gleefully took up the charge. Anderson Cooper, in his element, preached the virtue of bombing yet another nation in the Middle East. The calls for regime change (we need to bomb Iran to save the women of Iran!) rang out across the airwaves for a moment. But most people didn’t bite. Some Republicans rapidly followed their leader, like they always do, but most people stuck to their position.
Despite the efforts of Zionists and propaganda outlets, people are tired of endless war.
And people are sick of genocide. The impact of seeing amputee children on our phones, something that was not happening when the U.S. bombed and invaded Iraq 22 years ago, is immeasurable. The impact of independent media and critical, thoughtful, political alternatives to the corporate outlets and their narrative have had a profound impact on these conversations. Deep in our souls, with deep anger and conviction, millions and millions of people across the United States have rejected Israel, have rejected the logic of Zionism, have grown deeply sickened by the genocide Israel is carrying out. Public opinion, once firmly behind the state of Israel because of a lopsided and dishonest narrative and media environment and political establishment, has seen the truth and rejected the false story we’ve been fed.
I have no faith in Trump. His comments about Israel could mean something, or they could mean nothing. Any meaningful change can only be measured through action. But it matters that the people no longer consent to war. It matters that the majority of this country doesn’t consent to genocide. Authoritarians, and all governments, find themselves on dangerous footing when they try to act without the consent of the people.
Now it’s up to us to take this opposition to war and violence and sending bombs and money to Israel and turn it into tangible actions. It’s up to us to build pressure and build power. It’s up to us to stand against the military-industrial complex and take away the massive power they currently hold. It’s up to us to make noise, to build alternatives, to create new media ecosystems, tell new stories, and forge a way out of the status quo of violence. But now the people are with us, and we can move forward with that knowledge, and with the power lent to us by millions of people opposed to endless war.
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{
"article":
{
"title" : "Are we at a Turning Point? Trump, Israel, and America’s Endless Wars",
"author" : "J.P. Hill",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/are-we-at-a-turning-point-trump-israel-and-americas-endless-wars",
"date" : "2025-06-24 18:21:00 -0400",
"img" : "https://everythingispolitical.com/uploads/no-consent.jpg",
"excerpt" : "As I write this Trump is lashing out at Israel in a way that no U.S. president ever has, saying they “don’t know what the fuck they’re doing” and stating the simple fact that they have violated the ceasefire he announced on his social media platform. Iran is also stating that Israel has broken the temporary truce announced by Trump, with the Mehr and ISNA news agencies saying there have been explosions in Babol and Babolsar cities in Mazandaran. The initial announcement by the U.S. president, which seemed to many to be tenuous at best, and a farce at worst, appears to have collapsed before it ever held.",
"content" : "As I write this Trump is lashing out at Israel in a way that no U.S. president ever has, saying they “don’t know what the fuck they’re doing” and stating the simple fact that they have violated the ceasefire he announced on his social media platform. Iran is also stating that Israel has broken the temporary truce announced by Trump, with the Mehr and ISNA news agencies saying there have been explosions in Babol and Babolsar cities in Mazandaran. The initial announcement by the U.S. president, which seemed to many to be tenuous at best, and a farce at worst, appears to have collapsed before it ever held.The source of this immediate disintegration of the ceasefire is Israel, who clearly never wanted peace to begin with. Trump is now face to face with the reality that Israel is the belligerent in the region, attacking Syria and Lebanon and Iran all while never ceasing their genocide in Gaza and constantly and illegally encroaching further into the West Bank. For his many flaws, Trump’s approach to politics sometimes brings contradictions into focus, and here he has brought the global mainstream conversation face to face with having to admit the simple basic truth, that no U.S. administration has confronted in decades: Israel is the primary source of violence and conflict across the Middle East.All of this is not to say that Trump will suddenly hold Netanyahu and the Israeli government to account, but rather that he is now at a crossroads with the dominant Western narrative. We have reached a point, collectively, of the status quo no longer being tenable. The genocide in Gaza and the norm of endless war have collided with rapidly changing perceptions brought about by a shifting media landscape and by decades of organizing and dialogue by Palestinians, anti-Zionists across the world, peace activists and more. And Trump somehow finds himself operating near the center of this collision. He can either be embarrassed and dogwalked by genocidaires, or take material action to hold them to task. That has always been the calculus, under both parties. And in recent years both Biden and Trump have thus far chosen to willingly be undercut on the global stage rather than take any material action to halt Israel.This calculation comes from the power of AIPAC, from the massive Christian Zionist lobby, from the way presidents and others have internalized Zionist propaganda, and above all from the typical convergence of interests where Israel’s constant violence aligns with, and is a tool of, the interests of the U.S. empire and the military-industrial complex. But we might be seeing something different right now. It’s too early to tell how intent Trump is on curbing Israel, although his recent public statements do deviate from his predecessors.But what’s really different is public sentiment. The U.S. public is deeply fed up with endless war in the Middle East. It’s a sea change from 22 years ago where a few weak lies were enough to get Americans riled up about invading Iraq under false pretenses. We’re in a different era, and that may mean an opportunity for peace presenting itself.So many of us remember the Islamophobia and bloodlust that swept the U.S. after 9/11. It wasn’t just a “natural” reaction to the attack, it was a deliberately manufactured fervor, a whipping up of hatred and anger and violence. It led to two endless and disastrous wars, and between 4-5 million people dead in the fundamentally dishonest “war on terror”.But twenty years of those wars did change minds. Trillions were spent, civilians killed, soldiers died and lost limbs all for nothing. No good came from 20 years of slaughter, as the anti-war camp claimed from the beginning. Today staying away from endless wars is such a popular sentiment that Trump vaguely ran on it. Serious people never trusted him, but if that man has one skill it’s seeing which way the wind is blowing. He and his camp know what polling confirms: war is unpopular. Israel’s genocide is similarly unpopular. So the idea of going to war with Iran for Israel is, unsurprisingly, supported by only a tiny fraction of the population.That doesn’t mean the efforts to manufacture consent didn’t come around again, of course. Trump world briefly tried to convince people that we needed to bomb Iran’s nuclear sites, and CNN, Fox, and other outlets gleefully took up the charge. Anderson Cooper, in his element, preached the virtue of bombing yet another nation in the Middle East. The calls for regime change (we need to bomb Iran to save the women of Iran!) rang out across the airwaves for a moment. But most people didn’t bite. Some Republicans rapidly followed their leader, like they always do, but most people stuck to their position. Despite the efforts of Zionists and propaganda outlets, people are tired of endless war.And people are sick of genocide. The impact of seeing amputee children on our phones, something that was not happening when the U.S. bombed and invaded Iraq 22 years ago, is immeasurable. The impact of independent media and critical, thoughtful, political alternatives to the corporate outlets and their narrative have had a profound impact on these conversations. Deep in our souls, with deep anger and conviction, millions and millions of people across the United States have rejected Israel, have rejected the logic of Zionism, have grown deeply sickened by the genocide Israel is carrying out. Public opinion, once firmly behind the state of Israel because of a lopsided and dishonest narrative and media environment and political establishment, has seen the truth and rejected the false story we’ve been fed.I have no faith in Trump. His comments about Israel could mean something, or they could mean nothing. Any meaningful change can only be measured through action. But it matters that the people no longer consent to war. It matters that the majority of this country doesn’t consent to genocide. Authoritarians, and all governments, find themselves on dangerous footing when they try to act without the consent of the people.Now it’s up to us to take this opposition to war and violence and sending bombs and money to Israel and turn it into tangible actions. It’s up to us to build pressure and build power. It’s up to us to stand against the military-industrial complex and take away the massive power they currently hold. It’s up to us to make noise, to build alternatives, to create new media ecosystems, tell new stories, and forge a way out of the status quo of violence. But now the people are with us, and we can move forward with that knowledge, and with the power lent to us by millions of people opposed to endless war."
}
,
"relatedposts": [
{
"title" : "Mamdani & The Era of Possibilities",
"author" : "Collis Browne, Céline Semaan, EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/mamdani-and-the-era-of-possibilities",
"date" : "2026-01-01 12:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/zohran-inauguration-1.jpg",
"excerpt" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.",
"content" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.There is an air of undeniable hope. No matter how hard the knee-jerk catastrophic thinking might try to override with doubt, the moment is hopeful. This is proof of collective power. No matter what comes of it, we are already in a winning moment, because the people of New York city have toppled a dynasty built on greed and corruption. The entire world was inspired by this moment that was made possible by everyday people rallying together. That is how monopoly gets interrupted by people power. It’s not rocket science or AI, it’s sweat, effort, and in person collaboration.Let’s remember why this landslide engagement across political divides, why this excitement from communities and demographics who have never voted, and why this worldwide inspiration from a local election: it is a direct response to Mamdani’s laser focus on challenging the brutal economic oppression that defines our global reality.That is what wins elections; that is what inspires and unites the majority across age, ethnicity, race, and all other factors. Speaking the truth of the crushing economic reality that we live under.So now, resist the urge to follow the media’s double edge sword to fetishize and make individualized mythologies around Mamdani, his wife, the personal and aesthetic choices they are making. But continue to see them simply as people, continue to join forces with them and to remain educated, informed and most importantly not in silo but in community. Realize that we need thousands more like him who have decided that they can make a better mayor than these corrupt relics of the antiquated self-destructive past, and we need millions to always raise them up against those colluding with oligarchic corruption. And when the inevitable “fall from grace” comes, when the “media darling” moment wants to swing the other way and vilify him, resist the urge to jump on and make him any more important than but one human who wanted to make a difference in a dehumanizing system — focus on the system.Resist the urge to join in a culture war, to focus on religion or lifestyle or taste or how we spend our time as non-billionaires, and remain focused on what we can all be doing daily to gather power away from the centers of wealth and exploitation.Resist the urge to isolate in ideals, instead join the messy moment of change by being an active participant in the political spaces you wish existed.The moment calls for more action. This year, 2026, begins a new cycle filled with possibilities and people power. The moment is you. It is now. Continue to be present, be active, and take your place in making the future possible. Being an active part of your world is the antidote to the overwhelming feeling of disempowerment. The ways in which we rise, is through verbs and action. Excited to build with you all internationally and locally here in New York City. Our city."
}
,
{
"title" : "Narrative Sovereignty in the American Wing of The Met: Don't Miss ENCODED at the MET",
"author" : "",
"category" : "",
"url" : "https://everythingispolitical.com/readings/narrative-sovereignty-in-the-american-wing-of-the-met",
"date" : "2025-12-22 12:58:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Hidden_Exhibition.jpg",
"excerpt" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.",
"content" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.The American Wing is often described as a celebration of American art, yet it also functions as a carefully curated archive of colonial mythology and westward expansion propaganda. Its paintings and sculptures rehearse familiar narratives: conquest framed as destiny, extraction framed as progress, whiteness framed as purity, Indigenous absence framed as inevitability. These works are not merely historical artifacts; they are instruments of narrative power. They encode ideas about belonging, legitimacy, and nationhood, ideas that continue to shape cultural consciousness and public policy today. ENCODED intervenes in this institutional space not to negate history, but to complicate it. Using augmented reality, the exhibition overlays Indigenous artistic expression and counter-narratives directly onto famous works in the American Wing, reframing them through Indigenous epistemologies, lived experience, and historical truth. This is not an act of erasure. It is an act of expansion and an overt insistence that American art history is incomplete without Indigenous voice, presence, and critique.At its core, ENCODED is grounded in the principle of narrative sovereignty. Narrative sovereignty asserts that communities most impacted by historical and ongoing harm such as Indigenous peoples, Afro-descendant people, Palestinians, Pacific Islanders, Trans folks and the working class all must have the authority to tell their own stories, in their own words, and within the institutions that have historically excluded or misrepresented them. This is not a symbolic gesture. It is a democratic imperative.Democracy depends on access to truth. When museums present a singular, sanitized vision of history, they do not merely reflect power, they reinforce it. The American Wing has long upheld myths of “taming the West” and the so-called exhaustion of empire, narratives that obscure the violence of settler colonialism, normalize Indigenous dispossession and chattel slavery. ENCODED challenges these myths by making visible what has been omitted: resistance, survival, continuity, solidarity and accountability. For me, I also hope this intervention reflects back to museum goers and viewers the perils of authoritarianism, fascism and ongoing colonial projects such as legacy media consolidation, rapid creation of datacenters to produce AI, cutting access to healthcare, education, rights, or the current US regime’s attempt to erase history by any means necessary.The artists participating in ENCODED are not responding nostalgically to the past. They are engaging the present. Their work examines how colonial narratives persist in contemporary systems including environmental destruction justified by extraction, racial hierarchies reinforced through cultural storytelling, and institutions that benefit from the aesthetics of inclusion while resisting structural change. These are not abstract critiques; they are lived realities and for me deep lessons that have been shaped by having formerly worked at a neocolonial conservation nonprofit ran by wealthy cis wyt men and their enablers for nearly five years.Artistic integrity, in this context, cannot be separated from ethical responsibility. For too long, the art world has upheld a false binary between aesthetics and politics, suggesting that rigor diminishes when artists engage power directly. ENCODED rejects this premise. Integrity is not neutrality. Integrity is the willingness to tell the truth, even when it destabilizes comfort or prestige. Walking with integrity can be painful and takes courage.Importantly, ENCODED is not positioned as a protest staged outside the institution, nor as a request for institutional validation. It is an act of presence with agency. The project uses accessible technology to meet audiences where they are, inviting participation rather than reverence. Viewers scan QR codes and encounter layered narratives that ask them to look again, listen differently, and question inherited assumptions. Except for a few organized tours, the experience is self-guided, decentralized, and deliberately democratic. It’s also fun, and it is so special to hear the familiar sounds from the ENCODED pieces ring throughout the galleries signalling that kin is close by.This kinship network and accessibility is central to the work. Cultural literacy should not be gated by academic language, curatorial authority, white exceptionalism or economic privilege. By operating through personal devices, ENCODED rejects the museum’s traditional hierarchy of knowledge and affirms that interpretation is a shared civic space. The exhibition does not dictate conclusions; it creates conditions for reckoning and deep dialogue.Solidarity is another foundational principle of the project. ENCODED brings together Indigenous artists across nations and disciplines, in relationship with Black, Brown, and allied communities who recognize that colonialism is not a single-issue structure. The logics that dispossessed Indigenous peoples are the same logics that underwrote slavery, environmental exploitation, the seizing of Palestine, forced child mining labor of cobalt in Congo and in general global empire. Working in solidarity does not collapse difference; it honors specificity while resisting division and acknowledging historic patterns of systemic oppression.In a cultural landscape shaped by scarcity and competition, ENCODED models an alternative, one rooted in collective presence, shared resources, and mutual accountability. The project refuses the extractive norms of both empire and the contemporary art economy, offering instead a relational approach grounded in care, collaboration, and long-term impact on community.The decision to situate ENCODED within the American Wing was deliberate. Indigenous art has too often been confined to anthropological contexts or framed as premodern, separate from the narrative of American art. ENCODED asserts what has always been true: Indigenous peoples are not peripheral to American history; we are foundational to it. Our stories do not belong on the margins, nor do they belong solely to the past or through a white gaze.Yet presence without counter-narrative risks assimilation. ENCODED insists that visibility must be accompanied by authorship. By intervening directly within the American Wing, the project challenges the authority of colonial framing and invites institutions to reckon with their role in shaping public memory. Our hope is that eventually the Met will see this as an opportunity to engage in discussion and support its presence well into 2026.There is risk in this work. Naming colonial propaganda within revered institutions invites discomfort, defensiveness, and critique. But risk is inseparable from integrity. Artists and cultural workers are accountable not only to institutions and audiences, but to future generations. The question is not whether institutions will change, but whether artists will continue to lead with courage when they do not.ENCODED is an offering and a provocation. It asks what it means to inherit a cultural legacy and whether we are willing to transform it. Empire is not exhausted; it is contested. And art remains one of the most powerful sites of that contestation. When we change the story, we do change the future. Not through erasure, but through expansion. Not through dominance, but through relationship.Ultimately, ENCODED affirms that art is not merely a reflection of society, but a tool for shaping it and that when artists from the margins claim space at the center, together and with integrity, we open pathways toward a more honest, inclusive, and democratic cultural future. Join us.To access ENCODED review the exhibit website for instructions. While at the Met scan the QR code and click through the prompts for the self guided tour.https://www.encodedatthemet.com"
}
,
{
"title" : "The Aesthetics of Atrocity: Lockheed Martin’s Streetwear Pivot",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/the-aesthetics-of-atrocity",
"date" : "2025-12-20 10:30:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Lockheed_StreetWar.jpg",
"excerpt" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.",
"content" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.Through a licensing deal with South Korea’s Doojin Yanghang Corp., Lockheed turns fighter jet graphics, corporate slogans, and its star logo into gorpcore staples. Oversized outerwear, tactical pants, and advanced synthetic fabrics sell out at Seoul pop-ups like the Hyundai department store with young Korean consumers chasing the edgy, functional vibe. Andy Koh, a Seoul-based content creator, tells BoF that while arms manufacturing is, in theory, political, he has never encountered widespread discomfort among Korean consumers. “As long as it looks cool and the product functions as expected,” he says, “they seem okay with it.”This trend aligns with a broader South Korean fashion phenomenon: licensing logos from global non-fashion brands to create popular streetwear lines. Examples include National Geographic puffers, Yale crewnecks, Kodak retro tees, CNN hoodies, Discovery jackets, Jeep outdoor wear, and university apparel from institutions like Harvard and UCLA. These licensed collections, often featuring media, academia, sports leagues, or adventure themes, have become staples on online retailers like Musinsa and in brick-and-mortar stores, propelled by K-pop influence and a tech-savvy youth market that make these odd crossovers multimillion-dollar successes.Lockheed, however, is categorically different. Its core business is not exploration, education, or journalism. It is industrialized death, and its arrival in fashion forces a reckoning with how far commodification can stretch.Having spent years in the military, maybe I’m the wrong person to critique this. Or maybe I’m exactly the right one. I know what weapons are for, how they’re used, and the human cost they carry. Lockheed manufactures F-16 and F-35 fighter jets, Hellfire missiles, and precision-guided systems that human rights organizations have repeatedly linked to civilian casualties across multiple conflicts. In Yemen, U.S.-supplied weapons incorporating Lockheed technology contributed to thousands of civilian deaths since 2015, most notoriously the 2018 airstrike on a school bus in Saada that killed dozens of children. In Gaza, since October 2023, Lockheed-supplied F-35s and munitions have formed the backbone of air operations that Amnesty International and other watchdogs have flagged for potential violations of international humanitarian law, cases now under examination by the International Court of Justice.In 2024, the company reported $71 billion in revenue, almost entirely from military contracts, with more than 1,100 F-35s already delivered worldwide and production lines running hotter than ever. That staggering scale is the reality lurking beneath a logo now casually printed on everyday apparel.So why does the planet’s largest arms manufacturer license its brand to streetwear? The answer seems to be twofold: easy money and sophisticated image laundering. Licensing delivers low-risk royalties from Korea’s reported $35-40 billion apparel market with virtually no operational headache. Lockheed simply collects checks while a third-party manufacturer handles design, production, distribution, and deals with all the mess of retail.The far more ambitious goal, however, is reputational refurbishment. Doojin deliberately markets the line around “future-oriented technical aesthetics” and “aerospace innovation,” leaning on cutting-edge fabrics to conjure high-tech futurism instead of battlefield carnage. By late 2025, as U.S. favorability in South Korea continued to slide amid trade tensions and regional geopolitical shifts, the brand quietly de-emphasized its American roots, according to Lockheed representatives. The strategy clearly tries to sever the logo from political controversy and plant it firmly in youth culture, where aesthetic appeal routinely outmuscles ethical concern.Lockheed has honed this kind of rebranding for decades. Their corporate brochures overflow with talk of “driving innovation” and “advancing scientific discovery,” spotlighting STEM scholarships, veteran hiring initiatives, and rapid-response disaster aid. The clothing itself carries the same sanitized messaging. One prominent slogan reads “Ensuring those we serve always stay ahead of ready”, euphemistic corporate-speak that sounds heroic until you remember that “those we serve” includes forces deploying Hellfire missiles against civilian targets. Other pieces feature F-35 graphics paired with copy declaring the jet “strengthens national security, enhances global partnerships, and powers economic growth”. It’s textbook PR varnish. Instruments designed for lethal efficiency, now rebranded as symbols of progress and prosperity.We’ve also seen this trick before: Fast fashion brands that slap “sustainable” labels on sweatshop products. Tech giants that fund glamorous art installations while they harvest user data. Oil companies that rebrand themselves as forward-thinking “energy” players as the Earth’s climate burns. Lockheed, though, traffics in something uniquely irreversible: export-grade death. By licensing its identity to apparel, multibillion-dollar arms contracts are reduced to mere intellectual property; civilian casualties dissolved into, simply, background static.In other words, vibes overpower victims. And when those vibes are stamped with the logo of the planet’s preeminent death merchant, resistance feels futile.Gorpcore has always drawn from military surplus for its rugged utility: endless cargo pockets, indestructible nylons, tactical silhouettes born in combat and repurposed for city streets. Brands like Arc’teryx, The North Face, and Supreme mine that heritage for authenticity and performance. After World War II, army fatigues became symbols of genuine rebellion, worn by anti-war protesters as an act of defiance against the establishment. Today, the dynamic threatens to invert entirely. The establishment itself, the world’s preeminent arms dealer, now supplies the “authentic” merchandise, turning subversion into subtle endorsement.Streetwear grew out of skate culture, hip-hop, and grassroots rebellion against mainstream norms. Importing the aesthetics of atrocity risks converting that legacy into compliance, rendering militarism the newest version of mainstream cool. For a generation immersed in filtered feeds and rapid trend cycles, Lockheed’s logo can sit comfortably beside NASA patches or National Geographic emblems, conveniently severed from the charred wreckage in Saada or the devastation in Gaza. Research on “ethical fading” demonstrates how strong visual design can mute moral alarms, a phenomenon intensified in Korea’s hyper-trendy ecosystem, where mandatory military service may further desensitize young consumers to defense branding while K-pop’s global engine drives relentless consumption.If the line proves durable, escalation feels inevitable. Palantir, another cornerstone of the defense-tech world, has already gone there, hyping limited merch drops that sell out in hours: $99 athletic shorts stamped “PLTR—TECH,” $119 nylon totes, hoodies emblazoned with CEO Alex Karp’s likeness or slogans about “dominating” threats. What’s to stop Northrop Grumman from launching its own techwear line? Or BAE Systems from dropping high-end collaborations?Lockheed already licenses merchandise worldwide through various agencies; broader international rollouts beyond Korea seem only a matter of time. Backlash is possible, boycotts from ethically minded buyers, perhaps even regulatory scrutiny as anti-militarism sentiment swells. Gorpcore’s longstanding flirtation with military aesthetics could calcify into outright fetish, obliterating whatever daylight remained between practical function and state-sanctioned propaganda.Yet, history suggests that in oversaturated markets, “cool” almost always trumps conscience. Lockheed’s streetwear pivot is a stark illustration of how fashion and culture launder raw power, enabling the machinery of war to conceal itself among hype, hoodies, and sold-out drops."
}
]
}