Published on 30 Jan 2017
During World War 1, German submarines were a major thread to shipping routes of the Entente everywhere. The Royal Navy and and her allies had to come up with defence mechanisms against the silent hunters. They deployed flying boats and airships to spot the enemy U-Boats, harassed them with depth charges and mines. But the most effective measure against them proved to be the convoy.
January 31, 2017
Anti-U-Boat Strategy and Tactics in World War 1 I THE GREAT WAR Special
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“It’s been slowly feeling like the death of San Francisco”
The end of an era in San Francisco:
San Francisco Armory which, at its height, was making as many as 100 films a month. Photograph: Courtesy of San Francisco Armory
A handful of leather straps, sex toys and other bondage equipment were scattered throughout the mostly empty studios of Kink.com on a recent Thursday. Peter Acworth, founder and CEO of the BDSM porn empire, walked through the dark basement corridors of the San Francisco Armory, recounting how his company used to make as many as 100 films a month.
But in February, Kink actors will do their final shoot at the historic castle-like building that has become a world-famous destination for tourists and porn connoisseurs. As Acworth described Kink’s early days, staff upstairs prepared for a lavish party for Airbnb – the kind of corporate tech event that some fear could take over the Armory once porn is out the door.
“It’s heartbreaking,” said Lorelei Lee, a longtime Kink performer. “To lose this in a city that is losing resources for artists and queers and sex workers in such a huge way is sad.”
The Kink.com studio is the latest uniquely San Francisco institution to shutter in the rapidly gentrifying city, which in recent years has become exceedingly unaffordable and culturally homogeneous amid a huge technology boom. Combined with the financial turmoil in the porn industry, Kink’s business model has become unsustainable, leading Acworth to cease all production in the Armory.
Although Kink.com will maintain Armory offices and continue to provide content, some San Francisco performers are lamenting the closure of a porn studio that elevated the profile of fetish entertainment and BDSM and provided stable jobs and a safe workplace for LGBT people and sex workers.
Acworth, who is from the UK, launched the company in 1997 out of a grad school dorm room. In 2006, he purchased the 200,000 sq ft Armory, which is a 1914 reproduction of a medieval castle.
The national landmark became the headquarters for his growing network of BDSM and fetish subscriptions sites, including an interactive live page and a news site, and has housed public tours, shows, workshops and other porn events.
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MSM bias is baked-in, and has been for generations
In last week’s Goldberg File, Jonah Goldberg talked about the default left-leaning mainstream media (that’s most of the media):
I agree with pretty much all of the right-wing criticism of the mainstream media these days, or at least the intelligent stuff, of which there has been plenty. What the MSM still fails to appreciate is the degree to which they’ve spent the last 40 years — at least — presenting news as unbiased and objective when it was in fact coated with, saturated in, and bent by all manner of confirmation biases, self-serving narratives, assumptions, and ideological priorities that leaned left. No, it wasn’t all “fake news” (man, am I exhausted by the ridiculous misuse of that term), at least not most of the time [insert outrage over Duranty’s Pulitzer, Janet Cooke’s and Steve Glass’s fabulations, and of course that time Dan Rather climbed the jackass tree only to hurl himself down, hitting every branch].
I would even go so far as to argue that most of the time liberal bias isn’t even deliberate. Maybe because I’ve been reading so much public-choice theory and psychology stuff of late, I tend to credit conspiracy theories less and groupthink more for the wayward state of the mainstream media (though Mark Hemingway makes a good point about Plowshares’ sub rosa complicity in pushing the Iran deal). Still, the more you get to know elite “objective” journalists, the more you can appreciate that they are trying to do it right. But it also becomes all the more obvious that they live in a social milieu where the borders between the Democratic party, liberal activism, and liberal experts are very, very fuzzy.
For instance, last week I wrote about that ridiculous article in the Washington Post accusing David Gelernter of being “anti-intellectual.” Much of the Post’s “reporting” hinged on a lengthy, catty quote from a member of the Union of Concern Scientists. As I noted, the Union of Concerned Scientists has always been a political operation. It’s a classic example of an outfit that liberal journalists invest with non-partisan authority so they can pass off partisan views as “science” or some other objective expertise.
In 1985, the editors of National Review wrote:
The Union of Concerned Scientists, except for the publicity it commands, can be dismissed. It has been a scandal for years — a letterhead with a few distinguished names acting as shills for a membership of left-wing laymen (anyone can be a Concerned Scientist, just by paying the membership fee).
Countless activists-in-experts-clothing organizations run on some variant of this model, from the Women’s Sports Foundation to the National Resources Defense Council.
Reporters routinely call experts they already agree with knowing that their “takes” will line up with what the reporter believes. Sometimes this is lazy or deadline-driven hackery. But more often, it’s not. And that shouldn’t surprise us. Smart liberal reporters are probably inclined to think that smart liberal experts are right when they say things the smart liberal reporters already agree with.
For these and similar reasons, liberal ideas and interpretations of the facts sail through while inconvenient facts and conservative interpretations send up ideological red flags. Think of editors like security guards at a military base. They tend to wave through the people they know and the folks with right ID badges. But when a stranger shows up, or if someone lacks the right credential, then the guards feel like they have to do their job. This is the basic modus operandi for places like Vox, which seek to explain not the facts or the news, but why liberals are right about the facts and the news.
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QotD: Parts of the “Wild West” we won’t see on TV or in the movies
In the Nineties, a change began to take place. Reviewers and interviewers started describing Flashman (and me) as politically incorrect, which we are, though by no means in the same way.
This is fine by me. Flashman is my bread and butter, and if he wasn’t an elitist, racist, sexist swine, I’d be selling bootlaces at street corners instead of being a successful popular writer.
But what I notice with amusement is that many commentators now draw attention to Flashy’s (and my) political incorrectness in order to make a point of distancing themselves from it.
It’s not that they dislike the books. But where once the non-PC thing could pass unremarked, they now feel they must warn readers that some may find Flashman offensive, and that his views are certainly not those of the interviewer or reviewer, God forbid.
I find the disclaimers alarming. They are almost a knee-jerk reaction and often rather a nervous one, as if the writer were saying: “Look, I’m not a racist or sexist. I hold the right views and I’m in line with modern enlightened thought, honestly.”
They won’t risk saying anything to which the PC lobby could take exception. And it is this that alarms me – the fear evident in so many sincere and honest folk of being thought out of step.
I first came across this in the United States, where the cancer has gone much deeper. As a screenwriter [at which Fraser was almost as successful as he was with the 12 Flashman novels; his best-known work was scripting the Three Musketeers films] I once put forward a script for a film called The Lone Ranger, in which I used a piece of Western history which had never been shown on screen and was as spectacular as it was shocking – and true.
The whisky traders of the American plains used to build little stockades, from which they passed out their ghastly rot-gut liquor through a small hatch to the Indians, who paid by shoving furs back though the hatch.
The result was that frenzied, drunken Indians who had run out of furs were besieging the stockade, while the traders sat snug inside and did not emerge until the Indians had either gone away or passed out.
Political correctness stormed onto the scene, red in tooth and claw. The word came down from on high that the scene would offend “Native Americans”.
Their ancestors may have got pie-eyed on moonshine but they didn’t want to know it, and it must not be shown on screen. Damn history. Let’s pretend it didn’t happen because we don’t like the look of it.
I think little of people who will deny their history because it doesn’t present the picture they would like.
My forebears from the Highlands of Scotland were a fairly primitive, treacherous, blood-thirsty bunch and, as Robert Louis Stevenson once wrote, would have been none the worse for washing. Fine, let them be so depicted, if any film maker feels like it; better that than insulting, inaccurate drivel like Braveheart.
The philosophy of political correctness is now firmly entrenched over here, too, and at its core is a refusal to look the truth squarely in the face, unpalatable as it may be.
George MacDonald Fraser, “The last testament of Flashman’s creator: How Britain has destroyed itself”, Daily Mail, 2008-01-05.
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