The Present Is Prologue
Thursday, September 2, 2021
Bad Moon
Wednesday, August 11, 2021
This Is Your Boat Deck Wednesday Update For 2nd Class Passengers
A Barking Rant
Using BandAids On Brain Cancer
Charges have been brought by the DOJ against 605 rioters. The lead felony offense in the Federal indictments -- the most serious violation against each of them -- is "obstruction of an official proceeding"; attorneys for the defendants argued back that the joint session of Congress to certify electors' votes is a ceremonial, not an official, session, and the charge should be dismissed.
What constitutes an official Congressional proceeding; its never needed to be defined. One Federal judge in Washington was frustrated enough to comment that the DOJ's charge was so constitutionally vague that it could easily be overturned on appeal.
But there seems to be no rush to bring justice. Some defendants on bail are being allowed to vacation, attend weddings, or go backpacking out of the country; it's all quite leisurely. And while estimates of damage repair costs to the U.S. Capitol are over $1.4 million -- the total of monetary fines levied against the 605 defendants for that damage is... $2,000.
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Cosplay Conspiracy Is Too A Crime
More serious, the DOJ is not pursuing actual conspiracy charges against any defendants. The FBI claims no such information has been discovered, but an independent review of social media posts in the weeks leading up to the insurrection show clear planning and coordination -- tactics, and objectives.
Review of cellphone videos and social media traffic show at least two groups of insurrectionists appeared at the Capitol in full tactical dress and appeared to follow military-style movement discipline. At least two of them carried zip-ties inside the Senate chamber.
Then there are the recent revelations about the attempt by Trump and his allies to entice then-acting Attorney General Rosen to support The Leader's false narrative of a stolen election through a letter from the DOJ claiming irregularities in swing state voting.
Trump told Rosen in a December 27th phone call that all he had to do was agree to the DOJ letter -- "Just say that the election was corrupt + leave the rest to me and the R. Congressmen", according to contemporaneous notes taken by acting deputy AG Richard Donoghue.
Meetings between Trump and his allies and toadies were held at the White House in December and January. Trump (and others) made phone calls to election officials in Georgia, Arizona, Michigan, trying to find weak links who would support The Lie. Trump inserted loyalists into key intelligence and Defense Department positions; the Joint Chiefs of Staff planned to resign if he ordered the Armed Forces to enforce martial law. Then came January 6th.
You could ask whether there was an attempted coup in the United States; it's a matter capable of question, but no one wants to ask it. As with prosecution of the insurrectionists who breached the Capitol -- the Justice Department and Attorney General Garland seem tired, uninterested in pursuing Trump or his toadies for conspiracy. Biden said recently that pursuing Trump is a "bad idea".
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One might be forgiven for thinking that our Justice system just doesn't care. The message our government seems to be sending is attempt a takeover; pay no penalty. That there is no political will in the government to step down hard on any attempt to subvert the Constitution -- and to appoint a fat, lying, narcissistic con artist as President For Life of the United States of America.
It's almost as if they were signaling to the Owners who financed the coup attempt (Koch, Mercers, Murdochs; others), and their hired front men -- Trump, Stevie Bannon; screeching evangelical preachers; and the Red-Hat Orcs -- telling them: try again.
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Meanwhile, the usual suspects in Congress seem determined to push every situation as close to the edge as possible -- keeping the level of viciousness and blood-feud outrage high among the Faithful Red-Hat Cletuses.
There's a drumbeat, too, on Murdoch media; Tucker Carlson travelled to Hungary, then aired on Fox his extended infomercial gushing with praise for its authoritarian, proto-fascist government, and its Leader, Viktor Orban. It was a love letter to Lil' Viktor, and a message to Americans that -- with a Strong Daddy and United [White] People -- a fascist form of government can be good, for loyal white people. Such a pretty, orderly country under Orban, the Strong Daddy -- as Trump was, and will be again.
Little Tucker, like the Congressional Rethugs, want to keep the level of hatred and calls for Action! high -- all for Der Tag, when the call goes forth, and the loyal [white] people will Own The Libs once and for all. Scores will be settled and the strong shall rule; non-white people will disappear again, and all will Love The Leader, or else.
And the Red Hats continue to lap up the vomit NewsCorp and the Murdochs provide; a fantasy of victimization and marginalization -- and now, they've twisted their politics around the axle of the Covid wagon: Mask mandates, vaccinations, are infringements on personal freedom and cannot be allowed. Marjie Green, Rand Paul, Teddy Cruz, Loren Boebert and others screech and preen and strut in front of the cameras, decrying this vast conspiracy against freedom-loving Americans.
And tens of thousands of bikers crowd into Sturgis, South Dakota, for their annual festival -- cheered on by the state's governor, who wants to be the next Trump. Last years' event was cheered on by her, too. 500,000 people showed up. It was later proven to be a Superspreader event for Covid; this year will be no different -- given the Delta variant, it will be worse.
...and the Delta variant roars across the country. For someone who actually trusts science, scientists, and professionals to provide the best data possible, watching people on the Right equating vaccination with slavery or the Holocaust is unbelievable. There is almost no way to describe it, except as metaphorically a descent into schizophrenia, psychosis.
I'm an end product of the Enlightenment -- and people behaving like superstitious peasants, refusing to listen to anyone but Murdoch media 'personalities', or gibbering Sky God preachers, about, well, anything... I find it hard to believe it's happening. America hasn't had a long spasm of irrational nationalism since 1917 or 1942 -- but this is different.
The governors of two states hit exceptionally hard -- Abbott in Texas and DeSantis in Florida -- have signed orders banning any mandates by school districts, or businesses to wear masks or to be vaccinated. DeSantis threatened that school districts which violate the order will have salaries or state funding frozen.
As unbelievable as that seems -- at the same time, DeSantis and Abbott are asking for help from other states to deal with the rising number of the sick who need hospitalization, as medical facilities in each state are overflowing with Covid victims; as in the Fall of 2020, ICU nurses are posting videos describing how bad this is. And it is bad.
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We must always act from a sincere love of our fellows, but never give in to maudlin sentimentality or (worse) facile irrationalism. In theory, so long as one avoids silly ideological tropes, it is not so difficult to keep the two apart. But on a day to day level it can seem very difficult indeed. Especially when one is faced with nigh-inevitable catastrophe.
Monday, May 31, 2021
Absent Friends
You Know Who They Are
"We have done so much with so little for so long that we could do anything with nothing forever".
Thursday, April 1, 2021
Reprint Heaven: The Big Guy Is Your Buddy, Part I
Gozirra, Then and Now
(From 2014. Part 2 follows below.)Disgruntled: Not Allowed On The 'Blue And Gold Fleet' |
Arooo, Arooo / Godzilla Sure Likes YouThe Big Guy will be making his appearance this week, on a gigantic multiplex screen near you, in another installment of the timeless saga of ambition, terror, sea water, and a 350-foot Lizard who just wants to be the best 350-foot bipedal Lizard ever, and find love in a busy uncaring world -- the 28th (or, depending on who you ask, the 29th) film version of Godzilla.
He's Got Big Feet/ And He Smells Real Neat
Arooo, Arooo Arooo; Arooo, Arooo...
>> Rhyme Started By Friends' Children; To The Tune Of, "Hi Ho, Hi Ho; It's Off To Work..."
In Sixty Years, He Has Entered Our Collective Unconscious |
Spoiler Alert, Sort Of
Be Advised: If viewed in reverse, this film shows the Giant Happy Fun Lizard putting out fires and rebuilding a large, urban area for its inhabitants, playfully wrestling with other large alien figures (but none so large as He), then backing away respectfully into the ocean as a grateful nation sends naval vessels and its airforce to join in celebration. Roll credits; everyone goes home feeling good.
According to people who have actually seen the film (the most creative take I found is by illustrator and reviewer, Natalie Nourigat, and can be found at her site, Spoilers !), most classic moments you expect to see in Giant Monster movies are present: The scientist who tries to warn the population and is ignored; the brave warrior; scenes of people chatting about things personal; the happy children, playing at the seaside... and all the while, the audience knows: Gorzirra Out There. Gorzirra Come Soon. U Are All So Scrood.
So Much For 'Suspension Of Disbelief': No Way It's That Overcast On The Bay In August |
And still, we don't know: What the hell does he want? Why does he do the stuff he does? Is he just pissed off, twenty-four-seven? About what? Is he sad? Is there a Ms. Godzilla? And the answer always comes back -- It's In The Script! He's Godzilla! It's a monster movie, for crying out loud; it's not 'Prime Suspect'. There is no nuanced, emotional or rational context in the film to provide those kinds of answers.
The best you can expect is that a director is superb at delivering a genre story (M. Night Shyamalan, say, before Lady In The Water). Rarely, a classic appears and redefines a genre (like Chinatown, or Alien) -- but in general, most of these films follow a formula as faithfully as the tides.
Outtake For The Gag Reel: Having Blown His Line, The Big Guy Does Karaoke |
And I'll go to see The Chairman Of The Board, of course. He's been a treat for sixty years.
1954: Big Guy's Beginnings
(Note: This narrative undoubtedly has holes, inaccuracies, and is incomplete. It won't satisfy a Godzilla, or a film, purist. This an arc about the evolution of a character from destroyer, to near-slapstick character, and back again. Enjoy.)
Gojira (The Original) Attacks The Tokyo Diet Building, 1954 |
No joke: when it premiered in 1954, Japanese audiences (who have very different cultural reference points than we here in the West) didn't consider it a cheesy monster flick so much as a serious morality tale about the limits of science, told through the destructive hijinks of a mythic lizard. In fact, there's a bronze statue honoring The Big Guy in downtown Tokyo.
Ray Harryhausen's Stop-Motion Creature, 1953 |
But Godzilla's real genesis began over a labor dispute: In the spring of 1954, producer Tomoyuki Tanaka of Japan's Toho Film Studios was in a real fix. Having negotiated making a film for Toho in Indonesia, with everything ready, the Indonesian government refused to grant visas to Japanese actors (one way of saying, "Thanks for the brutal occupation of our country a few years back"). Tanaka, who was just trying to make a movie, was moderately screwed.
Director Honda (Left), Producer Tanaka (Right), Toho Films |
Tanaka had funding to complete a film, but suddenly, no project; he had to find one, or else. As he flew back to Japan from Indonesia, that American film he'd seen, Beast From 20,000 Fathoms -- about a monster lizard terrorizing New York -- drifted through his head, and he began getting ideas.
Back in Tokyo, Tanaka made a forceful pitch to the studio heads to make their own version of 20,000 Fathoms. He was given approval to re-direct the budget of his Indonesian picture towards this new film -- but with one catch: he had only six months to get a film in the can, edit it, and produce a Final Cut.
This called for what the Japanese referred to during WWII (some enthusiastically; some with sarcastic derision) as a "Hero Project" -- shortened deadlines, intense work, little sleep, and All Hands On Deck. In short order, Ishirō Honda (who had already completed two domestic films for Toho) was hired to direct what Tanaka called "Project G" (for 'giant'). Shigeru Kayama, a science-fiction author, was engaged to develop a screenplay and the concept of The Monster -- originally a wild predator which came ashore, ate people, and went back in the water.
A second draft of the screenplay by Honda and Takeo Murata expanded on themes Tanaka wanted to see in the finished film -- fears of radiation and the proliferation of nuclear weapons, real-life monsters unleashed by the United States in the 1945 atomic bombings of Hiroshima and Nagasaki, and through continuing nuclear weapons tests in the Pacific.
The Monster in their script -- which had no name, yet -- grew in size, particularly after the studio consulted their special-effects director, Eiji Tsuburaya, who had worked with director Honda on his previous films.
Before Godzilla's Visit: Tsubraya's Miniature Tokyo Bay (1954) |
Tsuburaya suggested an actor wearing a large suit would be their Monster, and attack a tiny Tokyo. Some wanted a monster designed with a mushroom-shaped head, reminiscent of a mushroom cloud, but the traditionalists won -- the Creature was dinosaur-like, but still needed a name. Producer Tanaka reportedly overheard colleagues talking about a Toho Studio press agent, nicknamed "Gojira," -- a combination of the Japanese words for gorilla (Gorira) and whale (Kujira). Tanaka decided to use it as both the name for the Creature and the title of the film -- and to Western ears, 'Gorjira' sounds very much like... Godzilla.
(MEHR, Mit Arooo: In response to a question, yes: the sound, "Arooo!" assigned to The Big Guy did originate from its use by 'Nixon's Head' in the animated series, Futurama.
Here at Before Nine, we've reported Arooo being used by The Zombified Ronald Rayguns, among other things. Oddly, it's a term also applied to conical, clear plastic packaging, and [our favorite] Dog Products.)
Reprint Heaven: The Big Guy Is Your Buddy, Part II
Gorzirra, Then and Now
(Part One Is above; or, Go Here. From spring, 2014.)[NOTE: As the Googlemachine has reminded all of us, this is the 114th birthday of Eiji Tsuburaya, special-effects designer and the originator of so many hero beings from Japanese science fiction cinema. He also created the concept which we know today as The Big Guy, the Chairman Of The Board; and San Francisco's hometown monster, as we are a Sister City with Tokyo.]
Releasing Gojira: 1954
(The Story Thus Far: An American film, Beast From 20,000 Fathoms, is released by Warner Brothers in 1953, and gives producer Tomoyuki Tanaka of Toho Film Studios the inspiration he needs to save his job. Allowed to make a Japanese version, he is given roughly six months to complete it.
(Tanaka envisions a Giant Lizard, the mutated product of radioactive fallout or contamination, to serve as a warning about the limits of science and unintended consequences of the proliferation of nuclear weapons.
(It's decided the Creature will be named "Gorjira" [a combination of the Japanese words for 'Gorilla' and 'Whale'], and the project's special effects consultant, Eiji Tsuburaya, convinces Tanaka and his team that an actor in a large rubber suit can play the Monster, and will have the fun of ravaging a miniature downtown Tokyo.)
Haruo Nakajima (Left) Served Tea On The Set Of Godzilla (1954) |
Tsuburaya (Left) Confers With Nakajima, 1956 |
The film was sold to the American market; producer Joseph E. Levine had it dubbed, cut by twenty minutes, and inserted scenes of Raymond Burr (star of the popular television series, "Perry Mason") as an Edward-R-Murrow-style journalist, broadcasting eyewitness accounts of The Big Guy's trip to Tokyo.
Raymond Burr Contemplates His Fee For This Acting Job |
Toho, and Daikaiju, Go Viral: 1955 - 1961
Tanaka initially considered Godzilla a one-shot morality tale, not the beginning of a 'franchise', and of an entire cinema industry. However, the movie was so popular (not only in Japan, but worldwide) and making sequels seemed so potentially profitable, that in less than a year Toho shot and released "Godzilla's Counterattack" (later famous for the derisive line, "And you call yourself a scientist").
This was the first film where Godzilla would fight another monster, Anguirus (which became Godzilla's friend in later movies) -- and this established what eventually became the hallmark of the Godzilla 'franchise': Other monsters appear (from inside the earth, from outer space, or the mind of Minolta), wreak havoc, and Earth is defenseless... until Godzilla appears to save the day.
War Of The Rubber Suits: Big Guy And Anguirus Duke It Out |
All three of these characters would appear in later Godzilla films. All were solid box-office hits in Japan; Toho Films decided to keep milking the daikaiju cow so long as it kept paying off.
Good, Bad, and Even Worse: 1961 - 1973
"Look, No One Told Me Kyoto Was A World Heritage Site" |
Actually, no one can be certain whether The Big Guy likes humankind enough to fight for it, or is just amazingly pissed off at the violation of his turf by some giant Bug / Dragon / Flying Turtle / et al.
(I'm not adding a list of all Godzilla productions; you can look at the Godzilla Wiki for that. We're just looking at the evolution of an archetype here.)
Unfortunately, over time, several things happened: Godzilla's character and portrayal began to resemble the formulaic aspects of other daikaiju films and characters, and other Giant Monster films had a certain level of low comedy and moments of near-slapstick action. Toho adapted its most popular character to fit the genre, not the other way around, and by the early 1970's things were ... goofy.
No longer the chunky-but-trim Terror From Under The Sea who laid waste to large urban areas, Godzilla lost most of his back spines and looked like... your neighbor, in a big rubber suit.
Godzilla (L), Megalon (R), And Other 400-Foot-Tall Beings |
Unfortunately, it was topped by their 1973 Godzilla vs. Megalon -- I swear to God; the stunt workers in that 89 painful minutes of cinema had to have been higher than Mt. Fuji. And the "film" was shot in only two weeks: Toho was low on funding. The daikaiju cow had gone dry.
Death And Transfiguration: 1975 - 1995
In 1974 and 1975, Toho tried slightly rebranding their character for its 20th anniversary in MechaGodzilla and The Terror Of MechaGodzilla, but the original magic of the character had been badly diluted; the public wouldn't pay to watch him, and Toho's executives didn't want to risk their money in future Godzilla film projects. The Big Guy only made a few appearances on Japanese daikaiju science-fiction television into the early 1980's, all moderately ridiculous compared with the menace and destructive power of the original Monster.
In 1984, the 30th anniversary of the character's birth, Toho made a simple and radical decision to save the franchise which had financed the studio's successful expansion for decades: They started producing a new set of Godzilla films, called the "Heisei Series."
Most were for the Japanese market only -- but through them, Toho Studios simply 'reset' their character -- they ignored every Godzilla film made after the original 1954 release (good pick, that) and started with a new film appropriately titled Godzilla, which starred a Big Lizard who looked almost identical to the one who stepped on Tokyo in 1954.
Ten years later, in 1995, Toho decided to end their franchise by killing it, in Godzilla vs. Destroyer. Toho made Godzilla's death public by adding "Godzilla Dies!" to posters and advertising of the film, and (while leaving a door open for a successor to reappear), The Big Guy dies.
Broderick Gets Up Close And Personal With Roland Emerich's So-Called Lizard (1998) |
In 1998, everyone wished his successor had died before the filming started when TriStar Films licensed with Toho to develop their own Godzilla -- a computer-generated Big Lizard which had little relation to the classic Big Lizard. Directed by Roland Emerich and starring Matthew Broderick, it was a financial and artistic flop; the less said about it, the better -- but it was Bad. It was just Bad.
There was, of course, the movie 'Atonement', but Godzilla's appearance in that film was barely mentioned. Probably because we'd all rather look at Keira Knightley.
So, there are two Godzillas -- the Japanese Monster who came from the sea to destroy things, stayed to become a comedic actor, then returned to his old ways. That current Godzilla encompasses both the original Destructor, the product of bad science and big bombs, and his daikaiju side, battling other Big Monsters to protect the Earth, his turf, or just for the hell of it.
Godzilla films have continued to be popular in Japan, and a second series was released following The Big Guy's supposed 'death' in 1995 -- again, Toho simply "reset" the story line without reference to the character's end... but this is one side of his existence that American or European audiences don't see. In Asia, Godzilla is timeless and lives on, as pissed-off and irrascible as ever, sometimes defending mankind and occasionally kicking Tokyo's ass.
The second Godzilla is a creature of Hollywood -- less accessible, a Godzilla "leased" from Toho Studios and who is (aber natürlich) much different for a Western audience. He's more of an animal, nastier, cunning and cold-blooded -- kind of like The Koch Brothers on a good day. He's all Destructor. No slapstick from this Big Guy.
However, after Emerich's poor showing nearly twenty years ago, no American studio (or whoever owns the conglomerates which make films these days -- Disney; Little Rupert's Fox; Comcast) wanted to risk putting money behind another Godzilla remake -- until now. This new film is supposed to be a "totally new concept" in Godzilladom. We'll see.
It's nice, though, that The Big Guy is getting work. He thinks so, too, I'm sure.
_______________________________________________Godzilla! There is no Giant Happy Fun Lizard but He - the Living, The Self-subsisting, the Eternal. No slumber can seize Him Nor Sleep. His are all things In the heavens and on earth and under the oceans. Who is there that can intercede In His presence except as He permitteth? He knoweth What (appeareth to All as) Before or After or Behind them. Nor shall they compass Aught of His knowledge Except as He willeth. His throne doth extend Over the heavens and the earth, and He feeleth No fatigue in guarding and preserving them, For He is the Most High, The Supreme (in glory). He is Godzilla, King Of The Monsters, the One and Only.
Tuesday, February 23, 2021
Reprint Heaven: Sail On
Almost half my life ago, a friend took me to an event in support of saving the Eiffel Tower-shaped sign which had graced the roof of the old City of Paris department store on Union Square. CofP had been there for generations -- since the Gold Rush; before and after The 1906 Earthquake and fire -- but business setbacks forced it to close.
The property had been purchased by Neiman-Marcus; they intended to build what still looks like a featureless beige box around the old CofP's oval, central core, topped by a stained glass skylight (you can see the old City of Paris building, and its trademark sign, in Coppola's film, The Conversation).
Replacing City of Paris with Texas-based Neiman's struck many San Franciscans as a cultural loss (dear god; Texas???) . Trying to save a landmark sign from a landmark local business was a way of saying No, we don't agree with that Yah-Hoo shit. A meeting was held to raise funds to purchase the sign, before finding a suitable location for it: and there would be poetry! Gary Snyder would read. So would Lawrence Ferlinghetti.
I went, I listened. Snyder had been a particular lodestone favorite of mine for a long time; I'd only heard him read once before in Berkeley; and Ferlinghetti, not in person at all.
When he did, he set "In Fascist America " in front of us like a dish, well-cooked but spicy enough to be a challenge to eat, like reading The Fire Next Time all in one sitting -- dig in if you've got the spittle for it, baby. And he read it in the Beat cadence you can see, fortunately, in film and video clips.
The applause at the end was genuine. Everyone knew Ferlinghetti as a national treasure, a cultural icon, someone who had gravitas and knew it and used it. He was on the side of Right and it appeared in his work like a sword on fire. We applauded for all that as much as the reading.
They never were able to buy the City of Paris sign. I went on to dinners over the years with friends and occasionally did (or was asked to do) my impression of Ferlinghetti, reading -- I'm gifted as a mimic; people laughed, which was the point (particularly about the repeating line in that poem, with a specific pause in his cadence when he would say, "In Fascist / America"). One person I knew in particular, who loved Ferlinghetti's poetry and had heard him read multiple times, always dissolved in laughter when she heard me do that.
Fast-forward a number of years: My acquaintance was taking lessons in a foreign language in the City, through a cultural exchange group; Lawrence Ferlinghetti was in the class. The last, penultimate assignment for each student was to take a short piece of literature or poetry, translate it into the Language Other Than English, then read it to the rest of the class. Ferlinghetti chose, "In Fascist America". He did it in the same cadence I'd used in my homage.
My acquaintance said later she was able to hold it in "almost until the end", before exploding with laughter. Apparently she slipped and fell trying to exit the room but made it outside, leaving Ferlinghetti and the rest of the class somewhat mystified.
I lived in North Beach for over a decade. In (for me) the old days, before heading to Vesuvio's or Spec's or Tosca's [Still with us in 2021]-- the real Bermuda Triangle (and if you understand that reference, you are my brother or sister) -- I might stop off in City Lights Books; occasionally, you might see Ferlinghetti on the ground floor, talking with someone at a table in one of the alcoves. More rarely at night, when you were coming out of Pearl's jazz club across the street [No idea if it's survived Covid], you might catch a glimpse of him, working late, through a window in City Lights' second-floor offices.
Most long-time residents in North Beach knew his house; it was roughly a block from my flat, and we passed each other at least twice a week for years, he walking up Stockton street towards Columbus, me walking down: two guys who wore fedoras. We made eye contact; I smiled, and sometimes said hello (it would have been odd if, after years of occurrence, I hadn't) but it was only a short time before I left the neighborhood that he began responding back.
The last time I saw Ferlinghetti was during a sentimental walk back, over ten years after leaving North Beach: walking across the grass of Washington Square on a warm, sunny afternoon; there he was, wearing one of the trademark hats, lying on the grass with his head propped up by a day pack, a faint smile on his face as he tilted it up toward the sun. I believe he'd been hospitalized for a heart problem not long before, and that knowledge struck me -- mortality; a memory of my Sixties in The City, the place I landed after Southeast Asia and never really left, and Ferlinghetti's connections to all of that.
At some point today I'll walk over to the old neighborhood and past his house, and put a good thought out for him. A century is a long time for a person, but it's not even a blink in the universe.
Wednesday, February 17, 2021
Auf Nicht Wiedersehen
Ende: Slipping Anchor
"First and foremost, I’m a businessman. My first goal is to attract the largest audience possible so I can charge confiscatory ad rates. I happen to have great entertainment skills, but that enables me to sell airtime.” Then he added -- as if he had to after a rare moment of honesty -- "But in my heart and soul, I know I have become the intellectual engine of the conservative movement."John McManus, "The Flap Over Limbaugh", New American, April 2009
“You know who deserves a posthumous Medal of Honor? James Earl Ray [assassin of Dr. Martin Luther King, Jr.]. We miss you, James. Godspeed.”
This government is governing against its own citizens. This president and his party are governing against us. We are at war with our own President, we are at war with our own government. Limbaugh; January 9, 2010
Thursday, January 28, 2021
Never Be Rid Of Him
Until The Cletuses 'Own The Streets'
Oh, and [redacted] Steve Bannon to [redacted]. And, the heads of all the fascisti parties in Germany, France, Italy, Austria, Spain, Portugal, Hungary, Poland, Romania, Bulgaria, Coatia, Serbia, Russia, Greece; China, and all the other [redacted] countries where they live and breed.
Wednesday, January 20, 2021
How It Ends
The next day, after the roll of dead had risen to two police officers (one dead of injuries received at the Capitol; the other a suicide) and four of the rioters, The Leader released another video, speaking from a podium in an even more detached, emotionless voice, he urged peace and condemned the violence. It was just for show, and everyone knew it.
... Trump taped a short video calling on Americans to act peacefully following pressure to do so from Vice President Pence, daughter Ivanka Trump, son-in-law Jared Kushner and other advisers. Trump later told aides that he regretted doing it and that his supporters did not like the video, two officials said. (Washington Post)
We're in an epistemic crisis... there has been an assault on truth and on reality, that [The Leader] has led, and his party was a part of, and his Base was a part of. We now live in a world where we don't just have policy differences -- we're living in different moral universes, different epistemological universes; we don't have a common set of facts, even a common reality. And when you lose that, it's very difficult to put it back together again...
But if you don't... a free country can't continue. Ultimately, your politics breaks down and your society breaks down... there's no ability to have dialogue. [The Leader] did this... it wasn't just the lies; it was this intentional assault on reality, which ...spreads a kind of disorientation in the public that has tremendously damaging and long-term effects.