Get live statistics and analysis of Fred Aaron is Pops Culture 🇺🇸✡🇮🇱's profile on X / Twitter

Lifelong, diehard Mets fan...and that's my problem The Far Leftwing has lost its mind & the Far Rightwing never had a mind to lose in the first place

33k following38k followers

The Critic

Fred Aaron is Pops Culture is a sharp-witted commentator with a passion for unpacking cultural, political, and historical issues through a lens that's both insightful and unapologetically opinionated. As a lifelong Mets fan, he pairs his dedication to baseball with a critical eye on sociopolitical extremes and nuanced cultural reflections. His tweets often blend humor, deep knowledge, and personal experience to create thought-provoking content that challenges his audience.

Impressions
396.5k-64k
$74.33
Likes
4.4k-1.6k
93%
Retweets
137-17
3%
Replies
153-47
3%
Bookmarks
55-13
1%

Top users who interacted with Fred Aaron is Pops Culture 🇺🇸✡🇮🇱 over the last 14 days

@TheMossadIL

🇮🇱 Advocacy 🇮🇱 Humour 🇮🇱 Space Lasers - book coming soon, help me finish it 👉🏼 buymeacoffee.com/themossadil

1 interactions
@elizabeta612

✝️Catholic 🇺🇸Conservative, Supporter 💪🏻 of 🇮🇱 . No Antisemitism ❌, No Anti-Zionist,❌, ❌ No Islam 🚫DMs without permission

1 interactions
@Robiiin_Hoodx

Zionism built a nation. Strength defends it. Israel stands. No compromise, no fear. ✡️

1 interactions
@koshercockney

Israel. Just opinions of a Jewish dude. Antisemitic abuse on this platform is getting too much. Stand up to the hate. 🙏🏽 עַם יִשְׂרָאֵל חַי

1 interactions

At this rate, Fred's fingers probably have their own Twitter biographies and are lobbying for union recognition—because why tweet once when you can tweet seventy times a day and still have energy left to debate a clown and a genius? If over-tweeting were an Olympic sport, he’d have more gold than Michael Phelps.

Fred’s biggest win is maintaining an active, engaged presence in a complex digital landscape where his blend of satire, personal authenticity, and cultural critique not only educates but also resonates deeply with followers who crave depth and honesty.

Fred’s life purpose is to provoke thought and dialogue by dissecting cultural and political complexities, encouraging his audience to look beyond surface narratives and question prevailing ideologies and historical lessons. He aims to preserve critical thinking in a polarized world and to warn about the dangers of ideological extremes.

He values intellectual honesty, historical awareness, and the importance of critical inquiry, believing that true understanding arises from questioning both the far left and far right. Fred is grounded in a strong cultural identity, evidenced by his connection to Jewish heritage and an appreciation for American and Israeli sociopolitical landscapes.

Fred’s immense knowledge, combined with his ability to deliver critiques with humor and personal insight, makes his content engaging and thought-provoking. His prolific tweeting habit ensures continuous presence and interaction, while his deep understanding of history and culture commands respect and sparks meaningful conversation.

His highly critical and sometimes polarizing tone may alienate potential followers who prefer lighter or more neutral content. The overwhelming volume of tweets risks diluting his message or leading to follower fatigue. Additionally, his focus on heavy sociopolitical themes, while intellectually rich, might limit broader appeal.

Despite an undefined follower count, Fred follows over 33,000 accounts and has tweeted more than 178,000 times, demonstrating his prolific engagement and dedication. His top tweets reveal a blend of humor, historical analysis, personal connection, and cultural critique, from satirical takes on public discourse to emotionally invested posts about family and heritage.

Top tweets of Fred Aaron is Pops Culture 🇺🇸✡🇮🇱

Life is a Cabaret? One of my favorite movie musicals of all time is Cabaret (Bob Fosse, 1972). Based on Christopher Isherwood's play I Am a Camera which was his dramatic adaptation of his own Berlin Diaries (very highly recommended), the film concerns a British academic who is Berlin in the early 30s finishing his studies and coming to terms with his own homosexuality who falls in love with a flighty American singer who performs at the Kit-Kat Klub, the tawdry cabaret of the film's title. The couple soon fall under the wing of a charismatic bisexual nobleman who beds them both. Except just like Isherwood's biographical diaries and play, the musical is not about an unlikely love triangle. It is actually a sly take on the rise of Hitler. And here is where the brilliant Bob Fosse (one of my favorite artists ever in American theater, right up there with Stephen Sondheim) takes an interesting approach. The characters of Brian Roberts and Sally Bowles (played so well by Michael York and Liza Minnelli) are going through their lives with little things popping up that they and the audience might not notice. The Kit-Kat Klub's owner throws a uniformed Nazi SA member out of his club. A subplot arises between two of Brian's students, one of them a wealthy Jewish heiress and the other an assimilated Jew who is in love with her but afraid his friends will abandon him if they find out he's a Jew. Another time, we see Nazi SA thugs beating up Jews in the streets of Berlin, or posters in the background defaced by rival NSDAP and KPD (communist party) street fighters. Just like the frog in the proverbial pot of water being slowly boiled to death, the action continues to show more and more of the Nazis who are on the glidepath to victory from 1931 when the movie starts. Cabaret was released roadshow style, meaning that it was cut into two parts, with an intermission separating them. Just before the intermission, Brian and the baron are in the back of the baron's limo with the baron confidently telling Brian that he and the other industrialists will have no problem controlling Hitler and the Nazis. When they arise at a scenic beer garden, a handsome, blonde haired boy gets up and starts singing a song, the most beautiful song in the entire film's score, Tomorrow Belongs to Me. The camera pans down to reveal that the boy is a member of the Hitlerjugend, and he is soon joined in singing by almost all of the patrons of the beer garden. As they leave the beer garden, Brian turns to the Baron and says, "Do you still think you can control them?" In the second half of the film, the Nazi presence becomes more pronounced. The Jewish heiress finds her dog murdered by the Nazis, and she leaves the country with her new husband. Brian gets beaten up by the SA after kicking over a stand of leaflets. Finally, Brian and Sally decide to leave Germany. At the end of the movie, after the cabaret's Emcee (Joel Grey in an Oscar winning performance) bids the audience adieu, the camera pans to a funhouse type mirror revealing that all of the men in the audience of the Kit-Kat Klub are now wearing Nazi uniforms and armbands. Just like the characters in Cabaret, we may not notice what is happening. We may have lulled ourselves into a false sense of security. But our countries are slowly and surely being taken over. Last night, we went to one of our favorite local cafes. We rarely go there on the weekends because it is too crowded, choosing instead to patronize it on weekdays. Many times on a Monday night, we are the only patrons seated at a table, enjoying a coffee and pastry. Last night, the place was packed. When we found the only available table, we looked around and then we noticed something: my wife was practically the only woman in the entire café who wasn't wearing a headscarf or hijab. Now mind you, we don't live in a big city. Our home is in a middle class, predominantly Jewish suburb. Yet over the last five years, there has been an influx into our community and it has gotten noticeable. And when I looked in the mirror on the wall in the café, I was immediately struck by that final image in Bob Fosse's Cabaret. Does Tomorrow Belong to Them?

3k

#Bales2025FilmChallenge @bales1181 June 11: Character Waving in Movie Hi, Mom! (Brian De Palma, 1970) @ithrah69 @ihateclaims @JanuaryMovie Vietnam veteran Robert De Niro is hired to direct a porn film, spies on his neighbors, romances Jennifer Salt and falls in with a group of militant black radicals.

790

#stonegasmoviechallenge2024 @stonegasman June 21: Four Performance by Maureen Stapleton Reds (Warren Beatty, 1981) Her performance as anarchist Emma Goldman, exiled to revolutionary Russia by the Palmer Raids, got her an Oscar as Best Supporting Actress.

28
Reposted @moymiz

“If it wasn’t for our support for Israel, the US would have great relations with the Muslim world.” Wrong. America’s FIRST f…

1k
Reposted @AmmiHirsch

I met @ZohranKMamdani after the primaries. The reason he can't explain away his support for slogans like "Globalize the Int…

1M
Reposted @DumisaniTemsgen

Yes. Mamdani is Hamas. And a communist. Good luck, New York…

2k
Reposted @ChayasClan

Just sharing this again because too many people refuse to listen when they tell you exactly what they’re planning to do. ht…

626
Reposted @ChayasClan

And when @EasternVoices says everywhere, she means they are EVERYWHERE 🕵🏼

5k
Reposted @VividProwess

I can't believe this is Times Square. How did it come to this?

2k

Most engaged tweets of Fred Aaron is Pops Culture 🇺🇸✡🇮🇱

Life is a Cabaret? One of my favorite movie musicals of all time is Cabaret (Bob Fosse, 1972). Based on Christopher Isherwood's play I Am a Camera which was his dramatic adaptation of his own Berlin Diaries (very highly recommended), the film concerns a British academic who is Berlin in the early 30s finishing his studies and coming to terms with his own homosexuality who falls in love with a flighty American singer who performs at the Kit-Kat Klub, the tawdry cabaret of the film's title. The couple soon fall under the wing of a charismatic bisexual nobleman who beds them both. Except just like Isherwood's biographical diaries and play, the musical is not about an unlikely love triangle. It is actually a sly take on the rise of Hitler. And here is where the brilliant Bob Fosse (one of my favorite artists ever in American theater, right up there with Stephen Sondheim) takes an interesting approach. The characters of Brian Roberts and Sally Bowles (played so well by Michael York and Liza Minnelli) are going through their lives with little things popping up that they and the audience might not notice. The Kit-Kat Klub's owner throws a uniformed Nazi SA member out of his club. A subplot arises between two of Brian's students, one of them a wealthy Jewish heiress and the other an assimilated Jew who is in love with her but afraid his friends will abandon him if they find out he's a Jew. Another time, we see Nazi SA thugs beating up Jews in the streets of Berlin, or posters in the background defaced by rival NSDAP and KPD (communist party) street fighters. Just like the frog in the proverbial pot of water being slowly boiled to death, the action continues to show more and more of the Nazis who are on the glidepath to victory from 1931 when the movie starts. Cabaret was released roadshow style, meaning that it was cut into two parts, with an intermission separating them. Just before the intermission, Brian and the baron are in the back of the baron's limo with the baron confidently telling Brian that he and the other industrialists will have no problem controlling Hitler and the Nazis. When they arise at a scenic beer garden, a handsome, blonde haired boy gets up and starts singing a song, the most beautiful song in the entire film's score, Tomorrow Belongs to Me. The camera pans down to reveal that the boy is a member of the Hitlerjugend, and he is soon joined in singing by almost all of the patrons of the beer garden. As they leave the beer garden, Brian turns to the Baron and says, "Do you still think you can control them?" In the second half of the film, the Nazi presence becomes more pronounced. The Jewish heiress finds her dog murdered by the Nazis, and she leaves the country with her new husband. Brian gets beaten up by the SA after kicking over a stand of leaflets. Finally, Brian and Sally decide to leave Germany. At the end of the movie, after the cabaret's Emcee (Joel Grey in an Oscar winning performance) bids the audience adieu, the camera pans to a funhouse type mirror revealing that all of the men in the audience of the Kit-Kat Klub are now wearing Nazi uniforms and armbands. Just like the characters in Cabaret, we may not notice what is happening. We may have lulled ourselves into a false sense of security. But our countries are slowly and surely being taken over. Last night, we went to one of our favorite local cafes. We rarely go there on the weekends because it is too crowded, choosing instead to patronize it on weekdays. Many times on a Monday night, we are the only patrons seated at a table, enjoying a coffee and pastry. Last night, the place was packed. When we found the only available table, we looked around and then we noticed something: my wife was practically the only woman in the entire café who wasn't wearing a headscarf or hijab. Now mind you, we don't live in a big city. Our home is in a middle class, predominantly Jewish suburb. Yet over the last five years, there has been an influx into our community and it has gotten noticeable. And when I looked in the mirror on the wall in the café, I was immediately struck by that final image in Bob Fosse's Cabaret. Does Tomorrow Belong to Them?

3k

#stonegasmoviechallenge2024 @stonegasman June 21: Four Performance by Maureen Stapleton Reds (Warren Beatty, 1981) Her performance as anarchist Emma Goldman, exiled to revolutionary Russia by the Palmer Raids, got her an Oscar as Best Supporting Actress.

28

#Bales2025FilmChallenge @bales1181 June 11: Character Waving in Movie Hi, Mom! (Brian De Palma, 1970) @ithrah69 @ihateclaims @JanuaryMovie Vietnam veteran Robert De Niro is hired to direct a porn film, spies on his neighbors, romances Jennifer Salt and falls in with a group of militant black radicals.

790
Reposted @moymiz

“If it wasn’t for our support for Israel, the US would have great relations with the Muslim world.” Wrong. America’s FIRST f…

1k
Reposted @AmmiHirsch

I met @ZohranKMamdani after the primaries. The reason he can't explain away his support for slogans like "Globalize the Int…

1M
Reposted @DumisaniTemsgen

Yes. Mamdani is Hamas. And a communist. Good luck, New York…

2k
Reposted @ChayasClan

Just sharing this again because too many people refuse to listen when they tell you exactly what they’re planning to do. ht…

626
Reposted @ChayasClan

And when @EasternVoices says everywhere, she means they are EVERYWHERE 🕵🏼

5k
Reposted @VividProwess

I can't believe this is Times Square. How did it come to this?

2k

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