FORTUNATE SONS - the award-winning film on 9/11
"Scholars and professionals with various kinds of expertise---including architects, engineers, firefighters, intelligence officers, lawyers, medical professionals, military officers, philosophers, religious leaders, physical scientists, and pilots---have spoken out about radical discrepancies between the official account of the 9/11 attacks and what they, as independent researchers, have learned. They have established beyond any reasonable doubt that the official account of 9/11 is false and that, therefore, the official "investigations" have really been cover-up operations. Thus far, however, there has been no response from political leaders in Washington or, for that matter, in other capitals around the world. Our organization, Political Leaders for 9/11 Truth, has been formed to help bring about such a response. We believe that the truth about 9/11 needs to be exposed now---not in 50 years as a footnote in the history books---so the policies that have been based on the Bush-Cheney administration’s interpretation of the 9/11 attacks can be changed. We are, therefore, calling for a new, independent investigation of 9/11 that takes account of evidence that has been documented by independent researchers but thus far ignored by governments and the mainstream media."
Rep. Peter H. Allen, PhD
Friday, September 11, 2009
Thursday, September 10, 2009
Of ambition and giant amoebae: Fear of a literate planet
So began something I wrote nigh on twenty years ago, borrowing from the title of an issue of one of my favourite comicbooks, The Defenders, by Marvel Comics.
Marvel has come a long way since then, making a lot of money from movies, and cutting the heart and soul out of the engine room, the comics, in the process. However, that is not the point of this essay.
The point of this essay is quite different.
The Left, and the Right, are two sides of the same coin. This has never been clearer than now, at the end of a siecle in western history, and the beginning of a new wave of civil unrest, world war, and defining global movements that will soon clash head to head.
In the Jazz Age so-called, the 1920s through early 1930s, Jazz was associated with its negro and somewhat New Orleans-centric roots. It was a racial and subcultural phenomenon.
It was elevated when it was adopted as a form of social warfare by socialists desiring to revolutionise American and more broadly western culture. It was a means of attacking the fundamental decency of a free society by appealing to its venality and its sexuality. Because the word, "jazz" was originally a synonym for, to put it crudely, as it was meant to be put, "fucking". "Jazz" music was not romance music. It was fucking music. Likewise the "protest" music of the 1960s. This was not music and soft lights and romance. It was sexuality. Adolescence. Overconfidence. Blindness.
Which leads us to the here and now, and giant amoebae. A giant amoeba is an amorphous monster, akin to The Blob, which sucks things in an slowly dissolves them. People, ideas and cultures don't immediately suffer magical annihilation. They slowly dissoluate before our eyes in gory horrifying detail, losing coherence, losing the majestic spark of life and intellectual promise with which we are born and which our groupings, at their highest, represent.
So to rap music. It is a sad indictment on the once-great NAACP that now it is left with its rump constituency of professional victims, protestors and relict activists, loud when unnecessary and yet paradoxically silent over the latest socialist and manipulative export of black culture- rap music.
Rap music does not elevate. Rap music does not make a protest that is valid, heartfelt or particularly effective. It is the latest in a long line of music tropes intended purely to cater to the lowest common denominator. And as is the case all too often, it is also another example of black people being their own worst enemy. Black music such as rap music is not shall we say soul music. Nor does it espouse a valid culture. It is socialist manipulation using capitalist ideation against itself, whilst allowing the total exploitation of black men and the uncaring and relentless subordination and exploitation of black women. By promoting pseudo-rebellion and ghetto radicalism it also promulgates the worst stereotypes imaginable on all the races that exist today in western culture.
It is also, and not accidentally, preparing the ground for the embrace by first black culture and then the wider culture, of Islam.
This must stop. And only the black American culture can stop it.
Marvel has come a long way since then, making a lot of money from movies, and cutting the heart and soul out of the engine room, the comics, in the process. However, that is not the point of this essay.
The point of this essay is quite different.
The Left, and the Right, are two sides of the same coin. This has never been clearer than now, at the end of a siecle in western history, and the beginning of a new wave of civil unrest, world war, and defining global movements that will soon clash head to head.
In the Jazz Age so-called, the 1920s through early 1930s, Jazz was associated with its negro and somewhat New Orleans-centric roots. It was a racial and subcultural phenomenon.
It was elevated when it was adopted as a form of social warfare by socialists desiring to revolutionise American and more broadly western culture. It was a means of attacking the fundamental decency of a free society by appealing to its venality and its sexuality. Because the word, "jazz" was originally a synonym for, to put it crudely, as it was meant to be put, "fucking". "Jazz" music was not romance music. It was fucking music. Likewise the "protest" music of the 1960s. This was not music and soft lights and romance. It was sexuality. Adolescence. Overconfidence. Blindness.
Which leads us to the here and now, and giant amoebae. A giant amoeba is an amorphous monster, akin to The Blob, which sucks things in an slowly dissolves them. People, ideas and cultures don't immediately suffer magical annihilation. They slowly dissoluate before our eyes in gory horrifying detail, losing coherence, losing the majestic spark of life and intellectual promise with which we are born and which our groupings, at their highest, represent.
So to rap music. It is a sad indictment on the once-great NAACP that now it is left with its rump constituency of professional victims, protestors and relict activists, loud when unnecessary and yet paradoxically silent over the latest socialist and manipulative export of black culture- rap music.
Rap music does not elevate. Rap music does not make a protest that is valid, heartfelt or particularly effective. It is the latest in a long line of music tropes intended purely to cater to the lowest common denominator. And as is the case all too often, it is also another example of black people being their own worst enemy. Black music such as rap music is not shall we say soul music. Nor does it espouse a valid culture. It is socialist manipulation using capitalist ideation against itself, whilst allowing the total exploitation of black men and the uncaring and relentless subordination and exploitation of black women. By promoting pseudo-rebellion and ghetto radicalism it also promulgates the worst stereotypes imaginable on all the races that exist today in western culture.
It is also, and not accidentally, preparing the ground for the embrace by first black culture and then the wider culture, of Islam.
This must stop. And only the black American culture can stop it.
Wednesday, September 9, 2009
Tuesday, September 8, 2009
451: Ray Barrett
Australian actor Ray Barrett dies at 82
(AP) – 1 hour ago
BRISBANE, Australia — Veteran Australian actor Ray Barrett, who became a star of British television in the 1960s, has died, his agent said Wednesday. He was 82.
Barrett's last film role was as the character Ramsden in director Baz Luhrmann's movie "Australia," released last year.
His Sydney agent Jane Cameron said Barrett died in hospital Tuesday after a fall at his home at Gold Coast city in Queensland state.
"He was an extraordinarily good actor who loved doing it," Cameron said. "He was such a skilled actor that he was always a very solid presence on the screen."
Raymond Charles Barrett was born in the Queensland capital Brisbane on May 2, 1927. He moved to England in the late 1950s and starred in the long-running British television series "The Troubleshooters" in the 1960s.
Cameron said Barrett did a wide range of acting work in the United Kingdom for almost 20 years, including voices for the iconic puppet television series "Thunderbirds," before he returned to Australia in the mid-1970s.
In Australia, he became a prominent player in a rejuvenated Australian film industry. He received one of Australia's greatest acting accolades, an Australian Film Industry Award for Best Supporting Actor, for his role in director Fred Schepisi's 1978 film "The Chant of Jimmie Blacksmith."
Barrett is survived by his third wife, Gaye, a daughter from his first marriage, Suellen, and two sons from his second marriage, Reg and John.
Copyright © 2009 The Associated Press. All rights reserved.
(AP) – 1 hour ago
BRISBANE, Australia — Veteran Australian actor Ray Barrett, who became a star of British television in the 1960s, has died, his agent said Wednesday. He was 82.
Barrett's last film role was as the character Ramsden in director Baz Luhrmann's movie "Australia," released last year.
His Sydney agent Jane Cameron said Barrett died in hospital Tuesday after a fall at his home at Gold Coast city in Queensland state.
"He was an extraordinarily good actor who loved doing it," Cameron said. "He was such a skilled actor that he was always a very solid presence on the screen."
Raymond Charles Barrett was born in the Queensland capital Brisbane on May 2, 1927. He moved to England in the late 1950s and starred in the long-running British television series "The Troubleshooters" in the 1960s.
Cameron said Barrett did a wide range of acting work in the United Kingdom for almost 20 years, including voices for the iconic puppet television series "Thunderbirds," before he returned to Australia in the mid-1970s.
In Australia, he became a prominent player in a rejuvenated Australian film industry. He received one of Australia's greatest acting accolades, an Australian Film Industry Award for Best Supporting Actor, for his role in director Fred Schepisi's 1978 film "The Chant of Jimmie Blacksmith."
Barrett is survived by his third wife, Gaye, a daughter from his first marriage, Suellen, and two sons from his second marriage, Reg and John.
Copyright © 2009 The Associated Press. All rights reserved.
Monday, September 7, 2009
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