In 1977, Roman Polanski drugged, raped, and sodomized a 13-year-old girl. When he believed a sort-of-plea-bargain was about to come unstuck, he took it on the lam. He lived the high life in this self-imposed exile for thirty years, until busted in Switzerland recently. Now various of the usual suspects on the right wing’s enemies list are campaigning to block his extradition.
There’s a good deal of perplexity being expressed about this, and some predictable chuntering from right-wingers about lefties being moral degenerates. But this flap isn’t really about politics at all — it’s much simpler than that. It’s about people who think of themselves as “artistes” reserving themselves a get-out-of-jail card when they feel like behaving like repellent scum of the earth, too.
[…]
If you want to make that argument, Roman Polanski makes a great stake in the ground — not in spite of the heinousness of his crime, but because of it. If even a child-raper can invoke the all-purpose artiste excuse for scumminess, than the merely ordinary transgressions of artistes become trivia to be airily dismissed. And if the Polanski case becomes a “teachable moment” whereby people can be talked into feeling like boors or philistines for even thinking that artistes should be held to civilized standards of behavior, so much the better!
None of this is more than tenuously connected to leftism, and I have to say the the right-wing efforts to gin up indignation on that score sound quite contrived and stupid to me. This dispute isn’t about politics, it’s about privilege — not just whether Roman Polanski is above the law, but about whether his defenders can claim to be too.
Eric S. Raymond, “Why artists defend Roman Polanski”, Armed and Dangerous, 2009-09-29.
February 2, 2021
QotD: Why “artistes” defended Roman Polanski before #MeToo
January 31, 2021
Adapting Noël Coward’s Blithe Spirit for the screen – “The ensuring film has all the light charm and witty élan of a documentary about slaughterhouses”
At The Critic, Alexander Larman is not happy with the latest attempt to translate a Coward play to the big or small screen:
Original theatrical release poster.
Wikimedia Commons.
Recently, the new film of Noël Coward’s masterly play Blithe Spirit was released on various streaming services, after its cinematic release was cancelled due to the irritating absence of open cinemas to show it. I had been looking forward to it for some time. It had a fine cast of hugely talented comic actors, led by Dan Stevens and including Isla Fisher, Leslie Mann, Julian Rhind-Tutt, and, in the great role of the fraudulent medium Madame Arcati, none other than Judi Dench. It was directed by Peter Hall’s talented son Edward, and its inspiration remains one of the most uproariously entertaining plays of the twentieth century, complete with some of Coward’s finest dialogue. It would be hard to mess it up.
Alas, “messed up” is an understatement when it comes to describe what has happened to the film. A clue comes in the credit: “adapted by Piers Ashworth, Meg Leonard and Nick Moorcroft”. The three of them were previously responsible for the mediocre sea-shanty comedy (not words one often writes) Fishermen’s Friends, and Ashworth and Moorcroft should be prosecuted at the cinematic equivalent of the Hague for their shameful bastardisation of Ronald Searle’s St Trinian’s series into two terrible films that bear as much relation to Searle’s illustrations as they do to Noël Coward. So it is little surprise that they have decided to “improve” on the original play. The writers throw out most of the original dialogue, retain only the bare bones of the storyline, introduce an irrelevant and mawkish subplot for Madame Arcati (who is now bewilderingly played mostly straight) and generally commit artistic vandalism.
The ensuring film has all the light charm and witty élan of a documentary about slaughterhouses. The cast do their best with the terrible material, but as Stevens manfully tries to make lines about erectile dysfunction amusing – “Mr Peasbody’s got stage fright” – the look of deep shame that occasionally comes over their faces cannot be disguised by the over-bright lighting and incongruously jaunty music. Had it been given a cinematic release, there may well have been indignant walkouts and outraged complaints at the box office. As is, I doubt that many disappointed viewers, expecting a more enjoyable film, will bother watching this travesty to the end.
QotD: Sixties music wasn’t what you think it was
Tom Jones is great, I love his stuff, but he’s not going to melt your face with his guitar riffs, and he’s there at #8, right in front of “Build Me Up, Buttercup.” Which is one hell of a catchy tune, and compared to “Love Theme from Romeo and Juliet” (#15) it’s practically Slayer, but rock it ain’t. Ray Stevens is at #61, for pete’s sake, with “Guitarzan.” If that hasn’t convinced you that The Sixties were nothing like they show in the movies (and that maybe the Viet Cong deserved to win), I don’t know what would.
Severian, “Entertainers (III): Hair Metal Attains Nirvana”, Rotten Chestnuts, 2020-10-08.
January 28, 2021
Blade Runner 1921?! – Robot Apocalypse Now | B2W: ZEITGEIST! | E.10 – Winter 1921
TimeGhost History
Published 27 Jan 20201Modern technology promises a lot, but it can also bring unprecedented horror. This season, the people of Czechoslovakia get to see that for themselves.
Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Hosted by: Indy Neidell
Written by: Francis van Berkel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Francis van Berkel
Edited by: Michał Zbojna
Sound design: Marek KamińskiColorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…
Mikołaj Uchman
Norman Stewart – https://oldtimesincolor.blogspot.com/
Mikołaj Cackowski
KlimbimSources:
Some images from the Library of Congress
Bibliotheque nationale de FranceIcons from The Noun Project:
– noun_Sound_3530255
– Microphone by Agung Cahyo sSoundtracks from Epidemic Sound:
“Epic Adventure Theme 3” – Håkan Eriksson
“I Am Unbreakable” – Niklas Johansson
“Waiting like the Storm” – Rand Aldo
“Le Chat Noir 1” – Martin Landh
“A Single Grain Of Rice” – Yi Nantiro
“Alleys of Buenos Aires” – Tiki Tiki
“Age Of Men” – Jo WandriniArchive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
TimeGhost History
1 day ago (edited)
Episode 10 of the series and for the first time we’re looking at a decidedly negative outcome that people imagined might come with further technological progress. Over 100 years later and it’s still something people are fearful of, and it often feels like Artificial Intelligence providing a real threat to humanity’s existence is just around the corner.We’d be interested to know what you guys all think. Is there a chance that something along the lines of what Čapek imagined actually happening? Let us know in the comments.
NOTE: Unfortunately an error has snuck into this week’s episode. The portrait that is supposed to show Herbert Hoover is in fact of his son, Herbert Hoover Jr. We are working on getting this fixed as fast as possible, and we apologize for the inconvenience in the meantime.
QotD: Art for art’s sake
Severian, “The Entertainer”, Rotten Chestnuts, 2020-10-08.
January 27, 2021
Behind the Scenes of WW2 – TimeGhost Cribs
World War Two
Published 26 Jan 2021This week we will start a series of videos where you get to know the team that makes this magnificent content.
Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Or join The TimeGhost Army directly at: https://timeghost.tvFollow WW2 day by day on Instagram @ww2_day_by_day – https://www.instagram.com/ww2_day_by_day
Between 2 Wars: https://www.youtube.com/playlist?list…
Source list: http://bit.ly/WW2sourcesHosted by: Indy Neidell & Spartacus Olsson
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Edited by: Karolina Dołęga
Sound design: Marek KamińskiA TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
January 25, 2021
QotD: Indira Gandhi’s exploitation of the goddess Kali
Indira Gandhi — the daughter of one of the freedom movement’s protagonists Pandit Nehru and India’s first and only female prime minister — chose consciously to co-opt this divinity in service of burnishing her own self-image. Indeed, during her first spell in office, from 1966-1977, Indira’s image was as prolific as the colourful printed pictures of the tantric goddess splashed across India’s towns and bazaars. Her appearance was, understandably, more benign. But in India’s jostling visual marketplace her image — big smile and bobbed black hair shot with a streak of white framed by a demure uttariya (veil) — was as inescapable as any deity’s.
Indira played the demagogue superbly. But just as her popularity among Indians soared, and her political confidence grew, those around her began equating her strong, intolerant, and cold politics with female divinities and their overwhelming powers. According to a hugely contentious apocryphal story, Indira’s young rival Atal Bihari Vajpayee, who would go on to succeed her as prime minister, was so overcome by devotion at the sight of her gallantry during India’s war with Pakistan in 1971 that he called her Ma Durga — Kali’s mother.
Cleo Roberts, “Indira Gandhi: a gift from the gods?”, The Critic, 2020-10-15.
January 24, 2021
The dangers of depending on “experts”
David Warren considers the vastly expanded role of “experts” in our public discourse:
Having no degree in either field, I try not to write what will be contradicted by an expert. On the other hand, “expert” has become a murky concept. Once we had to distinguish only between demonstrated credible experts, and villains. Common sense could usually tell them apart. But with the growth of our “sophistication,” the category of villainy has been much expanded. We have a category of institutionally credentialled experts who aren’t exactly liars, but more like what Harry G. Frankfurt defined as “bullshitters.” They struggle to remain plausible, but are using their expertise to advance interested views. And, having such motives — in opposition to the plain pursuit of truth — they seek publicity, and angle to obtain it.
As Dr Frankfurt hinted, in his short philosophical treatise on this topic (On Bullshit, 2005), these can be, and usually are, more trouble than old-fashioned liars. For a real liar knows he is lying, and can be caught out. By comparison, the modern media expert avoids what is strictly checkable, not only to protect himself, but from indifference for truth. He is, according to me, the intellectual descendant of the mediæval Nominalists, adumbrating words, not realities. While less intelligent than his predecessors, he carries on the tradition of saying that something is true because he says so.
“Consensus science” is of this nature. In it, truth can be negotiated, or imposed. While the weather next Saturday will be known to the living, a prediction for much later in the century has no meaning. From the number of variables in play, I can tell you with certainty, that woke “climatologists” are talking bosh; and every signature on their consensus I may add to my list of persons to ignore. This is elementary stuff: and I do try to stick to what is elementary, and foreseeable.
The success rate, for elaborate predictions, remains, at this point in our history, zero-point-zero. But it is becoming so also for the present, and past. The Batflu, here, is current primary example. Owing to obvious manipulation, we cannot know much about its effects. In rough terms, we can know that they are exaggerated, because almost every expert has a vested interest in getting the numbers up, and those who disagree will be punished. The same is true for all the popular remedies, including such nonsense as mangle-wearing, and obsessive social distancing. No legitimate research lies behind either, so we must assume the purposes for various lockdown orders are not actually the Batflu.
January 23, 2021
Scott Alexander returns
Having been driven from his original blog due to a doxxing threat from a New York Times reporter, Scott Alexander has resumed his public blogging, this time on Substack:
Welcome to Astral Codex Ten! Some of you are probably veterans of my old blog, Slate Star Codex. Others may be newbies wondering what this is all about.
I’m happy to finally be able to give a clear answer: this is a blog about ṛta.
Ṛta is a Sanskrit word, so ancient that it brushes up against the origin of Indo-European languages. It’s related to English “rationality” and “arithmetic”, but also “art” and “harmony”. And “right”, both in the senses of “natural rights” and “the right answer”. And “order”. And “arete” and “aristos” and all those other Greek words about morality. And “artificial”, as in eg artificial intelligence. More speculatively “reign” and related words about rulership, and “rich” and related words about money.
(also “arthropod”, but insects creep me out so I’ll be skipping this one)
The dictionary defines ṛta as “order”, “truth”, or “rule”, but I think of it as the intersection of all these concepts, a sort of hidden node at the center of art and harmony and rationality and the rest. What are the laws of thought? How do they reveal themselves, at every level, from the flow of electricity through the brain to the flow of money through the global economy? How can we cleave to them more closely, for our own good and the good of generations still to come?
In practice, articles (another ṛta relative!) here tend to focus on reasoning, science, psychiatry, medicine, ethics, genetics, AI, economics and politics. The political posts sometimes stray into choppy waters, and I have immense sympathy for people who are sick of that and prefer to pass.
As with most Substack blogs, it’s a subscriber-supported effort with limited public posts available to non-paying subscribers (like me).
QotD: “Genetics is interesting as an example of a science that overcame a diseased paradigm”
Genetics is interesting as an example of a science that overcame a diseased paradigm. For years, basically all candidate gene studies were fake. “How come we can’t find genes for anything?” was never as popular as “where’s my flying car?” as a symbol of how science never advances in the way we optimistically feel like it should. But it could have been.
And now it works. What lessons can we draw from this, for domains that still seem disappointing and intractable?
Turn-of-the-millennium behavioral genetics was intractable because it was more polycausal than anyone expected. Everything interesting was an excruciating interaction of a thousand different things. You had to know all those things to predict anything at all, so nobody predicted anything and all apparent predictions were fake.
Modern genetics is healthy and functional because it turns out that although genetics isn’t easy, it is simple. Yes, there are three billion base pairs in the human genome. But each of those base pairs is a nice, clean, discrete unit with one of four values. In a way, saying “everything has three billion possible causes” is a mercy; it’s placing an upper bound on how terrible genetics can be. The “secret” of genetics was that there was no “secret”. You just had to drop the optimistic assumption that there was any shortcut other than measuring all three billion different things, and get busy doing the measuring. The field was maximally perverse, but with enough advances in sequencing and computing, even the maximum possible level of perversity turned out to be within the limits of modern computing.
(This is an oversimplification: if it were really maximally perverse, chaos theory would be involved somehow. Maybe a better claim is that it hits the maximum perversity bound in one specific dimension)
Scott Alexander, “The Omnigenic Model As Metaphor For Life”, Slate Star Codex, 2018-09-13.
January 22, 2021
Hypocrisy is bad (for mere humans) but ostentatious hypocrisy is reserved for the powerful
David Warren notes the two very different kinds of hypocrisy on display during these fallen days:
Justin Trudeau with dark makeup on his face, neck and hands at a 2001 “Arabian Nights”-themed party at the West Point Grey Academy, the private school where he taught.
Photo from the West Point Grey Academy yearbook, via Time
Hypocrisy is often dismissed as a humdrum moral vice; rather as pæderasty, or buggery, or commissioning abortions: things considered very grave in the past, but now quite acceptable among progressive persons. One feels almost cruel, or envious, to criticize the adept hypocrite. How dare we try to withdraw the air in which he lives and breathes? “Zero tolerance” is directed at more serious vices, such as having wrong opinions, or voting Republican.
As Paul Valéry said, “Power without abuse loses its charm,” and when, for instance, a governor who proclaims crippling Batflu restrictions is seen ignoring them, he is outraged. His critics are his opponents, he reasons; they really ought to be investigated first!
A milder, general criticism is sometimes made, about the lifestyles of the rich and famous. How is it that prominent environmentalists burn so much jet fuel in their travels from one conference to another, at the world’s most lavish resorts? Shouldn’t they go about in sackcloth and ashes, as they tell us to do?
This is to misunderstand their hypocrisy. We assume they are motivated by greed, and the love of pleasure, the way we would be. But why must it be piled on so thick? Many a jetsetter hardly uses the jacuzzis. He takes a quick shower, because he has another aeroplane to catch.
Yes, most people are attracted to the sumptuous, but in a fine and private way. They rarely encourage the paparazzi, or wish to be watched over their fences and walls. They hire security, to scare trespassers away. Servants, up to a point, must be endured, but in the past they could be ignored, the way we ignore appliances. I may not have a toaster, but I do have a stove, and could swear that it is staring at me. But it was manufactured in the 1960s, so I needn’t fear it has an Internet connexion. And besides, if it did, it wouldn’t be reporting to the tabloids, but to technical staff. We try to ignore them, at least so long as we can pretend they are equivalent to our maids and butlers.
January 21, 2021
“A horse with no name” cover in Latin (BARDCORE) Original song by America
the_miracle_aligner
Published 20 Oct 2020“Oh no Consul White, the Parthians found us!”
&
Oh, Crassus you doink. You, I don’t care about but why did you have to drag Publius down with you 😢 NEVER FORGET MAY 6th 53 B.COriginal by @America – Topic: https://www.youtube.com/watch?v=oIYgs…
BIG shoutout to @Canticles Please go check out his covers NOWWW!!!
https://www.youtube.com/user/theyoung…Another BIIIG shoutout to @Juan Necessarium PLEASE go and support his work too yao
https://www.youtube.com/channel/UCQ8O…Wanna follow me?
https://open.spotify.com/artist/4y9XM…
https://twitter.com/KholeJa
https://www.instagram.com/the_miracle…Source of the BG: https://en.wikipedia.org/wiki/Publius…
This was a really fun one to do. As always thank you so much for all the support people. I am edging closer and closer to 100K subs 🙂 Got my special coming, it’ll be a pleasant surprise. Leave a like if ya liked it, and if you haven’t subscribed yet, please consider doing so 🙂
Take care my lovelies and until we meet again.
Consider supporting the channel, I know what I do ain’t much but its honest work ❤: https://www.patreon.com/the_miracle_a…
Here be the lyrics, all credits goes to Juan
In prima itineris parte
Omnia vitae intuebar.
Erant plantae, aves, saxa et res
Arena, colles et orbes.
Primum quod vidi musca bombans fuit
Et caelum sine ulla nube.
Calor magnus et tellus sicca
Sed aer soni plenus erat.Eremum transii vectus sine nomine equo
Mihi placuit pluviam nullam pati.
In eremo, tuum nomen recordaris,
Nam nemo adest quin te ullo modo vexet.Post duos dies sub eremi sole (DUos DIes)
Pellis mea iam rubebat,
Post tres dies in gaudio illius loci, (loCI)
Antiqui fluminis alveum vidi.
Et quod narrabat de flumine antea vivo
Me maximopere contristavit. (maxiMOpere CONtrisTAvit)Eremum transii vectus sine nomine equo,
Mihi placuit pluviam nullam pati.
In eremo, tuum nomen recordaris,
Nam nemo adest quin te ullo modo vexet.Post novem dies, equum liberavi,
Cum eremus mare factus sit.
Erant plantae, aves, saxa et res,
Arena, colles et orbes.
Sub mari enim vita certe floret
Sed id eremus videtur supra.
Sub urbibus cor terra factum iacet,
Sed homines amorem nullum dabunt.Eremum transii vectus sine nomine equo
Mihi placuit pluviam nullam pati.
In eremo, tuum nomen recordaris,
Nam nemo adest quin te ullo modo vexet.#America #Latin #Bardcore
January 20, 2021
Larry Correia (mostly) leaves Facebook
SF author Larry Correia has spent a lot of time in “Facebook jail” for posting things that the admins considered unacceptable under their constantly changing guidelines, so he’s finally bidding adieu to the platform:
I’m paring down my FB presence. For the last week I’ve only been on for a brief time each day. I’ll be taking that down even further. I’ll be posting links when I blog for the people who stick around. There’s a few groups I use here that I can’t get the equivalent resource anywhere else yet (but I’m currently banned from posting in all groups anyway). And that’s about it.
Basically, I’m done being a content creator for these censorious pieces of shit. Guys like me write stuff which gets shared hundreds of times and gets thousands of people commenting/participating. FB uses that free content to keep people corralled here so they can mine your data.
And then when us content creators get uppity, they fuck us over with impunity while their ideological allies get a pass. But then we come crawling back again and again, like abused trailer park wives, because we don’t want to abandon the kids (as in the communities we spent the last ten years building before the relationship turned abusive).
I’ve stuck around because I didn’t want to hurt my business/sales. This is still the best place to reach the most people the fastest. We made it that way. All us content creators foolishly moved over here back when Facebook promised to be one thing. Now that they’ve pulled a bait and switch, the content creators feel trapped.
In good conscience, this can’t continue. I’m done helping these parasites. Facebook is trash. We all know it. We’ve all seen it. We’re just here because of inertia.
Over the last decade, working with some stupendous moderators and great fans, we built a gigantic, thriving, fun, fan page here on Facebook. It’s one of the bigger author fan pages on the internet where the author can still actually talk to his fans. Being able to interact there was great. But Facebook took that from me on a whim. They banned me from my own group because of what I MIGHT say.
However we prepared a fallback. There’s another Monster Hunter Nation fan page over on MeWe. I’ll be posting there instead from here on. If the fans want to keep posting here, great, but I won’t be. I can’t even post this to my own FB fan page, which illustrates just how screwed up this situation is.
We’ll see how long that lasts, until Big Tech finds some way to squish every place they can’t control.
My primary place will still be my blog, monsterhunternation dot com. There is an email newsletter there you can sign up for which is only book related stuff, no politics. I’m on MeWe under my same name. I was on Parler as @monsterhunter45, though I never really used it, and I have no idea if that place is going to survive. I’ll be looking into other alternatives as well.
January 17, 2021
Las Vegas marks a significant loss
In Saturday’s NP Platformed newsletter, Colby Cosh notes the death of Siegfried Fischbacher, better known as half of the stage magic team Siegfried & Roy:
… Las Vegas, as we all know, is a special place in which ordinary moral writ and aesthetic judgment have greatly diminished force. Vegas is honouring Siegfried & Roy this week, and will recognize them forever, as city fathers. Even Penn Jillette, a fellow magician whose career has been a crusade against old-school schmaltz and glitz and other Teutonic concepts that Siegfried & Roy embraced, inscribed a small tribute to his colleague.
Siegfried & Roy were true pioneers in transforming Vegas into a full-spectrum entertainment capital. Their basic function was not to parade oppressed animals, or to do conjuring tricks. Considered as “magicians,” did they have a signature effect? Or is the truth that prop-heavy, mechanistic stage magic is just relatively easy to combine with a wildlife act that also travels poorly?
No, their mission was to extract money from the family members of degenerate gamblers and, gosh, were they good at it. When they started out at the New Frontier hotel in 1981, Las Vegas was still its postwar self — an anarchic watering hole and sybaritic paradise mostly for adult men, associated with a boozy, jocular style of entertainment that was rapidly receding in the rear-view mirror of the culture. (Siegfried & Roy were never trendy, exactly, but being unique was enough.)
Almost no one can have consciously envisioned a world in which gambling in various forms regained wide, post-Protestant social acceptance. That gambling would one day become legal everywhere at an astonishing pace would have been seen as a nuclear-grade threat to the literal existence of the city. The nightmare has arrived, but Vegas is bigger and more economically sound than ever. Siegfried & Roy helped reshape the industrial nucleus of a city you don’t even have to like gambling — or showgirls — to enjoy.
QotD: Hunter S. Thompson
James Lileks, The Bleat, 2005-02-21
