Tuesday, September 26, 2017


Orson Welles - War Of The Worlds - Radio Broadcast 1938 - Complete Broad...

Nothing more fascinating than dystopia


The cruelty of cinema men as opposed to that of extraterrestrials


From Hans Eisler and his “Hollywooder Lieberbuch” to Fritz Land and his “Metropolis,” there is only one step to jump to find ourselves in Geoff Nelder’s International Space Station invaded by Extraterrestrials on their way to conquer the world, and that is no entertainment, not even a film. Not even by Orson Welles adapted from H.G. Wells. Just some much entertainment for today’s audiences who want some blood and violence, vengeance and hatred, so that they can practice their empathy for as cheap a price as a ticket for the film and nearly nothing for a Kindle.


The series is brilliantly produced, directed and acted. The smallest and lightest detail is perfect for final reception. Just as a series it is both dramatic and suspenseful. It deals with characters that are provided with depth and complexity, at times contradictions. And yet the subject of the series is grave and serious. We are dealing with Hollywood around 1936 when Hitler is arising in Germany and starting to open the concentration camps (Dachau is named). We are in the USA, and in Hollywood the debate about what we can say or show about Germany is raging. The Germans are heavily blackmailing American producers with the very dynamic cinema market in Germany.

That’s the first element. Some, like Monroe himself, have to hide their Jewishness by changing their names. The subjects dealing with Germany have to be absolutely apolitical. You can have the sound of the music but certainly not the sound of any protest in Germany or in the world against Hitler. There is a tremendous lack of courage among the people in the cinema industry at the time. This is a serious question that is pushed aside by many at the time.

The second dimension of the series is the hyper-realistic description of the ugly and often criminal atmosphere among the professionals of the cinema in Hollywood. They are ready to recuperate Fritz Lang, at least for a short while, as a Jewish and German refugee, but they are not ready to support any opposition to Hitler. And among them, we have family practices and professional practices that magnify the power of the bosses of the studios, then the power of the producers over all artistic professions, and then a dependency hierarchy with some who can block the system, like of course authors.

Then we have a professional environment made of rivalry, hatred, exploitation, ambition, ruthlessness, inequality and hypocrisy. They do one little good action to cover all their crimes and they show to the world a positive and beautiful façade that has nothing to do with their reality. They smile to photographers and they kill one another with daggers in the back all the time. And it is in this atmosphere that some beautiful films are produced and Oscars are won. And Oscars have their feet in blood, literally: the blood of assassinated people or people worn out and burnt out so much that they can only cut their wrists and take an overdose of opioids or whatever other drug they can put their fingers on and grab.

But the series is a real beauty and you will like it if you are not too sensitive to airsickness or vertigo. Be sure – and do not overlook the following fact – that the dead people on the screen correspond to dead people off the screen. Hollywood is not ethical and has no morality. It is all about money and fame, Oscars and domination. Hollywood is a control freak at the level of the global planet. And it hurts when some shares of this market evade them. It hurts so much they are ready to sacrifice a few sacred cows, or stars, to regain the ground they’ve lost.



Imagination, when compared to life, is so absurd that it becomes fascinating, mesmerizing and even hypnotizing. And Geoff Nelder really puts the smallest dishes imaginable into the biggest ones till the latter are overflowingly full.

The story is simple. Some extraterrestrials decide to take over the earth. So they deposit a suitcase on the International Space Station. The suitcase is taken down to earth, then opened by some reckless cat who will not even be killed by his curiosity. That spread a virus on the planet at the speed of light. This virus destroys the memory of people backward, so that they lose their memory from right now back on, one year in just a few days. And they reach twenty or more years in a few months. It creates an artificial Alzheimer and the consequences should be the extinction of the human race when the loss of memory reaches birth since then they will lose the memory of their basic needs like hunger and thirst, though the book pretends they will keep the memory of reproduction, at least the need of that type of physical contact, producing babies that would be forgotten as soon as being born. Destruction all around.

But later on, the extraterrestrials deposit a second suitcase on the ISS. The team decides to take it down themselves with their shuttle and they select a base in Wales that is entirely cut off from the rest of the world and where a band of uninfected scientists have taken refuge incognito of anyone. The second suitcase is then opened and it reveals it propagates a second virus that amplifies the memory of people to the very simultaneous remembering of absolutely everything down to the last detail since even before birth. This mental cramming causes serious mental disruption and at least people simply get psychotic with headaches to accompany the disruption. And from psychotic to psychopath there is only one step and the victim of this second disruption starts killing or trying to kill. But he is also endowed with enhanced humanity and life and he can even survive mortal wounds, hence death itself.

Then the conclusion is simple “Where’s there’s life, there’s hope.” It sounds like Obama and these uninfected scientists manage to travel all around the globe to another isolated area where some scientists have taken refuge in the south Pacific. Yes, definitely, they can.

The best part is for me the emergence of the first virus in a Boeing Dreamliner flying from New York to London. It is hilarious to see how the people who are losing their memory are also losing their consciousness of why they were travelling to London and so they hi-jack the plane to go back to New York, and the book reveals that this hi-jacking is impossible today because any plane can be taken under control directly from some air-traffic controlling center and then no one can pilot the plane from the cockpit and the plane can be taken anywhere the technicians in the air-traffic controlling center decide. The bully passengers who have taken over the plane thus find out the plane is directed onto a disaffected airstrip where it will be quarantined for as long as they will remember, and remember is interesting since they are losing their memory. Quarantine forever.

There are dozens of situations of that type that are dramatically humorous. And the escape of the English scientists and the ISS team from Wales to move to the South Pacific is just both incredible and funnily absurd, not funny ah ah but funny strange of course, like the famous joke of old about French cows who have five legs and not four like all self-respecting English cows.

But the author is titillating us with an important question: what is the role of memory in life? It is crucial since the loss of memory is the surest way to die, and at the same time, the preservation of memory will provide every living person with the consciousness that life is lethal since it leads to death anyway and at all times. You must admit it is crucial, isn’t it? Unconscious death as opposed to conscious death. The choice of the century.

And excessive memory leads to psychosis. Luckily the author avoided the now un-trendy if not politically incorrect term of schizophrenia. Psychosis means killing to survive, though survival is short lived in a way. But it also leads to self-preservation on the side of “normal” people who kill the deranged people with no pangs of conscience at all. Memory is the core capability of our brain and central nervous system that enables all other mental capabilities starting with sensing, perceiving, identifying or recognizing (naming), experimenting, speculating and conceptualizing without which no language is possible, no abstract thinking is possible, no human species is possible. Our memory associated to the mutations brought to us by the emergence of the bipedal long distance fast runner that Homo Sapiens was some 300,000 years ago gave Homo Sapiens the tools he needed to invent and develop our human articulated languages. No memory then no language, not even the simple set of eight or nine calls a standard monkey species have at their disposal.

Yet I think the description of this loss of memory is rather tamed by the fact it is seen essentially through people who do not lose their memory. When someone is severely hit by Alzheimer they may well lose the ability to eat and drink and only very basic physical functions will survive for a while, like breathing and rejecting waste. That leads some older people to the simple situation when they have to be fed otherwise they won’t do it on their own, and they won’t communicate anymore. They are not reduced to a vegetal state because a plant does not forget to breathe and their roots do not forget to work and the plant’s nourishment comes from the roots and the breathing of the leaves.

Highly entertaining though totally foolish crazy mad science-fiction directly out of Mad Magazine and their Alfred E. Newman. In a way, it is refreshing to know that on this planet some people might be slightly saner than most others, especially politicians.


Sunday, September 24, 2017


These Chinese who are tumbling Trump's mind


In our present time of crises and contradictions we have to stop one moment and think as clearly as possible upon this following question: “Will we survive the present crisis, not as individuals, not as nations, but as humanity?” They all tell us about the ecological dangers in the present time: the warming up of our planet; the climate change on our planet; the carbon cycle that comes to a peak that will cause the eradication of some 80 to 90% of all species on our planet soon, even if it takes ten thousand years to be completed. And then you can add the various bubbles – debt, real estate, overproduction, financial speculation, and even the social bubble of unrefrained and uncontrolled migration and the explosion of refugees among these migrants – building up here and there in the economy and the craziness of some of the extremes of our political system who pretend that states do not have to mind their debts and that more money to the poor will bring economic growth. States can do what they want, provided they keep their national currency autonomy.

This last idea is the proof the world is sick and probably dying of insanity because there are so many examples in history and particularly over the last four or five centuries of crises in one country, in several countries, in many countries that prove a limited financial crisis can bring the world down and Keynes has not changed that. He has at best given us the illusion that we can live on credit, not as individuals who are always caught up by their debts, but as nations who can always do what they want with their currency, close their borders, introduce limitations on the circulation of money, foreign currencies and many other things of the sort like imports and exports.

Keynes could not know the globalized world we are just entering. And in this globalized world goods, money, currencies, everything is one and no country can survive alone, no country can even live alone, and unluckily no country can die alone. What happens in one country is at once propagated into the whole world like ripples or waves on the ocean. And some want to see everything is so connected that it is all some kind of predestination, some fate: all is in all and everything is everywhere at once. . .


Saturday, September 23, 2017


Psychotic Cornwall and entrepreneurial police work


This is an old series, for sure, with old computers (I still have one from 1998) and old portable telephones and hardly any internet. It was England in its Major and post-Major time: it had been clearly cleaned up of some of the working class and trade union privileges and restructured along some privatized lines, and Blair was not going to change all that, and he was even going to deepen it with the entrepreneurial approach of anything like here police work.

The series is situated in Cornwall, which is a strange choice because of the very particular particularisms of this region of England. Cornwall was the heart of the old Celtic England, a lot more than Ireland and Wales and at the geographical center if Brittany was taken into account. The most Celtic heritage in England is situated in Cornwall and concerns Ireland and Brittany, slightly Wales and King Arthur’s England around this center. It is Tristan and Iseult. And strangely enough the Celtic heritage in Cornwall has been entirely erased by history, and it is true Tristan and Iseult was first written down at the end of the eleventh century under William the Conqueror, not in Celtic or even old Anglo-Saxon languages but in Norman French. Some old Welsh Triads have kept in old Celtic Gaelic language some elements of this very old story, tale, romance, epic even.

But the series explores the Cornish particularisms of the deeper old population of this area that has become a great touristic destination in England and has thus been “invaded” by a whole set of entrepreneurs from the Cornish landed upper class or from England with all it brings along including various criminal traffics like drugs and some others. The series reveals the deep hatred existing in the countryside among the old farming families that can use a gun to solve a problem like others used toothpicks to clean up their teeth. And fishermen are not much different along that line. At the same time in such large families that at times look like clans or tribes, there is an extremely strict hierarchy that leads to absolute power in one man or woman in these clans and these individuals, when confronted with the modern world, with tourists from outside and with entrepreneurs from England, can react like schizophrenic people. The term is used a couple of times though today this term is no longer acceptable and should be changed to psychotic. But psychotic they are for sure.

That is the main interest of the series. The exploration of such deep inherited social structures that are dysfunctioning in modern times.

The second interest is the police itself, with its various strata and hierarchies, with the ambitions of local bosses who want to get into the Home Office or simply to some bigger city like Bristol and of course London. These ambitious police social climbers are climbing by using their “underlings” as steps to go up the police social ladder, and what’s more, with the newspeak of entrepreneurial understanding of anything that brings together more than two people and that is nowadays referred to as Human Resources. In this conception, men and women are just pawns on a chessboard, with the particularity of having psyches that may react in a strange way and have to be brought down under control, by retiring the concerned individuals, by framing them if necessary.

The various and successive plots, one plot per episode, are always well sewn up with a twist at the end that generally is more in the method to bring the criminal down rather than to reveal his or her identity we have often subsumed before. It thus is a rather entertaining and intriguing thriller of a series that can be watched from root to land’s end with interest and pleasure.


Wednesday, September 20, 2017


Vanessa Chevallier, un crime dans la vallée

AmazonKindle Asin B010VYPOWI

Ne me dites pas que c’est une petite ville, ni que c’est la montagne moyenne qui veulent ça. Sinon dans une minute vous allez me prétendre qu’il y a des dragons dans les Pyrénées, des loups garous dans le Massif Central et des vampires dans les Alpes. Faites plutôt confiance à Vanessa Chevallier.

Il y a bien plus pire encore que cela dans la tête des mauvais voisins qui s’approprient tout sur leur passage, sur leur mitoyenneté, sur leur voisinage. Rien ne résiste à ces esprits chagrins qui ne sont même pas criminels car ils ont le crime dans le sang et pas dans leur matière grise ou blanche.

Ainsi de pire en pire vous descendrez dans les bas-fonds de cette petite ville et d’un être qui se dit humain et qui est après tout un notable local. Mais ne lui donnez pas la communion sans confession. Il pourrait vous en coûter cher.

Jacques Coulardeau

Deux sœurs.
Une maison de rêve.
Un petit coin de campagne paisible.
Paisible? Si au début de leur installation, les sœurs Brausch pensent retrouver le domaine familial et renouer avec leurs souvenirs d'enfance, le rêve pour elles va vite tourner au cauchemar.
Le Mal se cache parfois dans la douceur d'un paysage, le long d'une rivière qui vient frapper les pales d'un moulin endormi dans la plaine. Mais le Mal peut prendre plusieurs visages et n'est jamais celui auquel on s'attend.

Détails sur le produit

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Folklorization of Purcell: well done


Henry Purcell is the musician that really gave English music its brilliance and glory after the Restoration that put an end to the Puritan revolution that closed all theaters and banned nearly everything entertaining and first of all music, except church and chapel music. But with time Henry Purcell was in a way marginalized by the famous Beggar’s Opera by John Gay in 1728. Do we remember the composer of this opera, Johann Christoph Pepusch, also known as John Christopher Pepusch and Dr. Pepusch, a German-born composer from Berlin who spent most of his adult professional life in England? And of course George Frederic Handel was to come later on and he literary pushed everyone else out of the way, out of his way.

So this selection of small pieces by Purcell is the attempt to bring Purcell back to the forefront of the stage and in the limelight. It sure gives a good palette of Purcell’s music, both instrumental and vocal and with some surprises as for the singers like Jim Moray singing a song supposedly sung by Venus in love with Adonis, a tragic story. But the music will surprise you because it is very systematically more folk than baroque and there the vengeance is not Purcell’s but the musicians’ and these play tricks with this composer. It is true Purcell’s music is full of small pieces and songs that are very popular by origin at the time as a revenge of Purcell on the Puritans, but to make it folk music is really tentative.

This recording then gives a new way of listening to Henry Purcell’s music but Purcell’s real glory is in one opera or quasi-opera, the famous Fairy Queen that has survived time and even Handel, though it is true Purcell did not have the width and amplitude of Handel. Compare track 4, “An Evening Hymn,” that ends on a long variation on Hallelujah with the famous Hallelujah by Handel in his Messiah. In this recording this Hallelujah is sort of rough, gravelly, roguish even and yet fascinating in spite of Handel’s Hallelujah that is so self-contained, respectful, inspiring, elevating to life after death. What’s more, Purcell’s is secular indeed with a God that is bringing rest at the end of the day after work. Nothing to compare with the promise of eternal life after death, the promise of salvation for the Just after the Apocalypse.

But this folklorized Purcell is very entertaining in a way as music for the various moods of the day from light and happy to somber and dark like track 14, Jigg (Abdelazer)’s Rondeau from The Moor’s Revenge, a play that has more or less disappeared from our culture because of the strong anti-Semite tone typical of the Elizabethan era since this play was performed for the first time in 1600. The best description can be found in “The Villainous Moor: Eleazar in Dekker’s Lust’s Dominion (1600),” an article by Fahd Al-Olaqi of University of Jeddah, Saudi Arabia, English & Translation Department. He says in his summary:

“The article explores the disruptive social contexts and inter-racial relationships in Thomas Dekker’s Lust’s Dominion (c.1599–1600) [Collier found out about its original performance date, which was in February 1600, and that it was first published in 1657 (Collier 1827, p. 264)] with focus on the Moorish Eleazar. The play is about race, lust, revenge, and politics. The Elizabethan experienced a cultural blend and a fear of Africans and other foreigners. Like Dekker, Elizabethan dramatists imparted well-known contemporary prejudices and stereotypes on those of specific origin in Africa based solely on their dark skin. Elizabethan shows reinforced the image of the Moor as cruel, tyrannical and deceitful. The African Moors are portrayed to the Elizabethan expectations as being demi-devil, deceitful, lascivious, unpleasant, merciless egotist as soon as he appears. The depiction of the evil Moor contributes to Elizabethan superiority as an intrinsic right. Dekker illustrates the pervasive racism of Elizabethan Europe and the plain consequences of this institutionalized prejudice.” [The Villainous Moor: Eleazar in Dekker’s Lust’s Dominion (1600) (PDF Download Available). Available from: https://www.researchgate.net/publication/303181600_The_Villainous_Moor_Eleazar_in_Dekker%27s_Lust%27s_Dominion_1600, accessed Sep 20, 2017].

There is only a slight mistake. In Shakespeare’s time, a Moor could be either a dark-skinned man from Africa meaning mostly Muslim, though yet maybe not Black, but it was the word also used for all Jews, and there are several in Shakespeare’s plays (Titus Andronicus, The Merchant of Venice) but also Marlowe’s (The Jew of Malta). Antisemitism was basic in those centuries and the Puritan Commonwealth did not help at all along that line. Purcell then committing music for this play revived after publication after the Restoration is not surprising, since the Jews will be finally emancipated in England, or the United Kingdom, in 1833, forty-four years after the French Revolution did it in France. That is also a revenge of Purcell who forces us to rethink some of our sectarian heritage in today’s rendering of his music.


Tuesday, September 19, 2017


Blood Lust, Flesh Best, Guns Fun!


This film is both cultish and scandalous, if not horrifying. A standard viewer in a standard audience would react along three main lines according to their belief whether the film is a true story or not. Imagine two young people who in three weeks killed fifty-two people. And it all ends in a prison riot and a prison break that leaves dozens of people dead in the prison. I will stick to the director’s cut and its official ending, not the alternative ending. In this official ending the couple survives after their prison break by getting underground and lives a long happy life with something like three children, the whole family living in a mobile-home moving from mobile-home camp to mobile-home camp and you can imagine if they moved often they would not attract too much attention and could easily blend into the American landscape, social or not.

The first reactive line would be: “It is a true story and it is a frightening fact that such people do exist in our society and they get to killing dozens of people if they can on a very regular basis.” The feeling then is a feeling of fear, the simple fear that one day you may find yourself in a public place where such a mass killer would turn up and start shooting. But let me be clear: that is NOT terrorism. That is pure mass killing and the causes are not some political or even social objective. It is the result of a mentally deranged psyche and that deranged person has been through various causes evoked in the film: disrupted family, unemployment, family violence from the father, alcoholism, very often abuse from one parent onto the children, boys or girls indifferently, father or mother indifferently too, and at times the monetization of this abuse onto the children with outside grown-ups paying for the opportunity. And you have to keep in mind in such a situation a child who needs contact, physical contact and love will accept anything that will provide him or her with that contact and that love, even if it is more rape and exploitation than love. How can he or she know?

The second reactive line would be: “It’s a true story and our police is ineffective to stop such criminals, when they are white at least, and the people I work with or I meet in the street or who just go along in the street might be such sick killers ready to start again anytime.” Here fear is amplified by the obvious ineffectiveness of the police to protect me, you, us all against such sick people who find pleasure in killing other people including children. This is paranoia for such viewers of such films, but this paranoia is quite justified in real life, even if such crimes are marginal, even if we take into account terrorism which is nothing but mass killing with a political, religious or ideological dressing. Mass killers, particularly terrorist mass killers do not survive nowadays: they explode themselves or kill themselves after doing their “business”; they are killed on the spot during the attack by some security force; or they are killed in the manhunt that follows their escape. In such situation the police seem to generalize the attitude of theirs towards Black offenders: Kill first, even with five bullets like in Saint Louis in 2011, and ask questions later, if you have any time to waste. So you can imagine the fear of viewers who know some of these mass criminals or mass murderers do survive and get underground.

Watching such movies for people who are slightly paranoid on the subject of mass murderers, serial killers, or mass criminals is like people who are prone to experiencing vertigo in some situations and who cross the Grand Canyon on a flimsy pedestrian rope bridge, if possible on a windy day and looking down over the ropes, or between their legs to the river a few hundred yards lower. But it takes all sorts of fearful people to feed the paranoia of our consumer society.

The third line is to know this film is fictional and then the fear is only short lived and the end of the film will give a tremendous relief with a big sigh: “That sure was a good film. I nearly wet myself. But let’s get an ice cream cone to push the film down.” That’s why fiction is so useful: to provide people with fears and other emotions that they might never experience for real in humdrum everyday life.

But, surprise, surprise! The film was an obvious fictional story based on a real couple of mass murderers. “The horrific murder spree of Charles Starkweather and his fourteen-year-old girlfriend Caril Fugate ended much like bank-robbing folk heroes Bonnie and Clyde—in a hail of bullets. The only difference was that both Fugate and Starkweather survived and were finally apprehended after leaving eleven people dead in their wake—including Fugate’s parents and her two-year-old sister who Starkweather stabbed to death.” (http://dangerousminds.net/comments/the_real_mickey_and_mallory_candid_pics_of_mass-murderer)

So enjoy the film, wet your panties and survive the experience. Do not compensate with eating too much popcorn. Keep some appetite for the T bone steak of tonight after the film. You will imagine it is a T bone steak cut out of Charles Starkweather’s side, and that will be a really good experience: subliminal cannibalism.

Technically the film is great because we never know if it is a real film or if it is some kind of collection of TV shows, news programs, documentaries, in situ reports, oscillating between the black and white of old archive documents and the colors of modern coverage, but after all at times it looks as if the black and white sequences were the color-blind vision of one of the two murderers who could not see the world the way it was but only the way they like it: as a shooting target alternating black and white circles.

Have a good trip!


Older Review, AMAZON.xxx, JANUARY 16, 2007


This is Apocalypto in the all-American modern version. Our society produces, be they born or not born, a whole fringe of killers that absolutely know what is wrong or right, good or bad, but who do not care a fig about it, even if at times they do not find any pleasure in murdering.

The film explores the destiny of a couple of two young people who meet by accident but find in themselves so many common alienations and frustrations based on about the same social, cultural and personal environment : sexual abuse and violence from parents, rejection from society, total lack of care and help in education that is inexistant or social counselling that is just impotent.

They end up taking what they want by force since it is not provided to them free. But the film goes a lot further. It analyzes the role of the media that systematically sell paper and prime time advertising with this showing of violence and with fake or unfake interviews of murderers and other criminals. The lower, the better. The nastier, the more profitable. The bloodier, the tastier.

Then the film also shows that the prison system is a system of incarceration and containment, in no way of reform, education and improvement. These prisoners are there to survive because no one dares execute them all. They are the sacrificial victims of society that needs them to regenerate its lost virginity, purity and morality. They are the sacrificial victims of a god that has nothing to envy the Maya gods. This god is the god of selfish greedy consumerism.

Till it explodes. And the official end of the film shows that such criminals can disappear in society forever, and they are then living among us unknown and unseen. The alternative ending shows that you need the intervention of an angel to execute these criminals. The film preaches and advocates that these criminals are natural born killers, hence that they will never be anything else, hence that they have to be purely and simply executed as soon as they are noticed and as fast as possible to avoid as many victims as possible, why not at birth ?

This vision of crime in our society is criminal in itself because it produces the criminals concerned by considering there is no other way, it is their fate and ours.


Sunday, September 17, 2017


Moore and Chomsky lost in the jungle

Michael Moore, Lumbago Or Heartburn
The West A Nest Of Hornets
(27 illustrated pages, 47 minutes read)

It all started when I came across this following article on Medium:

Devouring culture. An @NYMag site. Sep 6, 2017,
The Thankless Task of Being Michael Moore
He’s been right about everything before, and he really thinks you are living in a bubble.

That was for me not so much a revelation as a confirmation. I had followed Michael Moore a lot and always found his facts absolutely right but his style particularly irritating at times and quite obviously staged. He was telling us something true but in such a way that we had to keep him and his story at a distance if not out of reach.

I think Michael Moore has never realized his tone was often neutralizing his argumentation. And this tone was the same in his films or in his books. I felt both embarrassed and annoyed by the constructed demonstration that could have been shortened into a simple statement of facts instead of some kind of guidance through a labyrinth of circumstantial elements that had little importance as for the facts themselves and the conclusion that could easily and directly be drawn from the simple statement of the facts.

That’s exactly why I have never liked philosophy: it needs twenty pages to demonstrate that the statement “The sun rises in the morning in the east” is true whereas the simple observation of the sun rising in the morning would answer the question in five minutes, if not less actually.


MICHAEL MOORE, CAPITALISM A LOVE STORY, reviewed on January 11, 2010.

MICHAEL MOORE, MIKE’S ELECTION GUIDE, reviewed on September 23, 2008.





The article by VULTURE on Medium was a long study trying to demonstrate that Michael Moore was a prophet that could not be understood in the USA, his home. The only reason not given by this study is that a prophet is never heard in his own family, neighborhood, home, country, or whatever. Jesus, a Jew who was not a prophet, was not heard by the Jews and he had to be amplified by the apostle of the Gentiles for his prophecy to be heard. Mahomet, a real prophet this time, was not heard in his home town and had to get out of it in exile to start his conquest and being heard.

Michael Moore is not better and I consider it is because he systematically rebuffs people, insists heavily on what he thinks is the truth, on taking a stance and a tone that is humbly disquieting and even quietly disturbing. He cannot be heard because he does not want to be heard by the masses, only by the mental elite that shares his frustrated unbalance. He sounds so much like some of my old friends who were born in the working class and moved out of it and then constantly bring the working class as the norm of their thinking, which is, of course, a lie.

A very common idea: one can never forget and even erase what one was born and raised in. A certain Burrhus Frederic Skinner based his social Darwinism, his social behaviorism, his social and racial segregationism on this very principle. Human beings remain locked up in the Skinner boxes in which they are born. We all know it is wrong, false and even vain, and it becomes pathetic when someone who is so far from what his working-class father was to pretend he had remained faithful to the working class of his father, no matter what.

To deem how wrong this approach of things is we must keep in mind that the billionaire Trump is the elected President of the blue-collar dissatisfied and discontented workers which is in a way unexplainable, except that people only like the words and the music of what they hear and are totally blind at who may be playing that music and howling these words. And the interview given by Hillary Clinton to PBS Newshour on Friday, September 15 did not show any understanding of this simple fact: you are supported by those who like your words, your tone, your music, and as Marshall McLuhan would say this is an all-sensorial experience: one LIKES in one go with all senses the person concerned and that locks up the sixth sense of the Buddhist, the mind.

But let me give you a few instances of my approach of such critical thinkers like Michael Moore and how they speak a language no one who is not part of their elite can understand.

Thursday, September 14, 2017


What Ever Happened To The Russian Hacked Us Narrative From Mainstream Me...

Mainstream media is lying on the subject not to acknowledge Clinton LOST the election. And they add reports upon reports that Russia is dying, starving, collapsing, etc, And Xi is the same: The Chinese are bound to topple down their success with their own demographics. North Korea is a nation of sleep-dreaming and sleep-walking skeletons in a concentration camp. Our western media don't even see that is absurd? Oh! yes, they do. But they want us to believe that the USA is the only power in the world, so they destroy the others with media work.

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