Quotulatiousness

November 14, 2020

“… we all know that Wrong Opinions Are No Longer Allowed On The Internet”

Filed under: Health, Media, Politics — Tags: , , , , , , — Nicholas @ 05:00

Jen Gerson has some Wrong Opinions that she shared On The Internet, so Dr. Bradley Mitchelmore, BSc. (Pharm), ACPR, PharmD, RPh has has taken it upon himself to try to get her cancelled:

Firstly, to explain how this little gem fell into my lap, some context is required. While I was avoiding the interminably dull task of invoicing our fine writers of The Line the other day, I threw out a position that some might find controversial.

That is, I find the trend towards identifying women by terms like “birthing people,” “menstruators,” “front-hole possessors” and “uterus bearers,” to be both reductive and offensive. I have no objection to finding more inclusive language for circumstances in which we want to acknowledge trans and non-binary people (ie; a phrase like “pregnant people” seems clunky, but inoffensive to me); but to date, all of this new language reduces the class of “women” to either a biological function or a bodily part.

Pregnancy is a particularly sensitive topic for a lot of women because, for most of us, the process is terrifying. To go through childbirth is the most profound loss of bodily autonomy imaginable and many women I know struggle with the after effects of feeling as if we’ve been treated like interchangeable breeding sows by some doctors and nurses. If a doctor started calling me a “birther” or a “uterus-bearer” while stretching my cervix apart knuckles-deep with two fingers, my response would not be welcoming.

I also don’t think it’s a coincidence that linguistic shifts that re-frame an entire biological sex class as “breeders” only ever seems to target one sex. Very few well-intentioned and committed activists are waging war online over the definition of “men.”

A lot of this is misogyny gilded in progressive language. And very few women want to stand up to the misogyny on the “pro-woman” team, nor suffer the consequences of pissing that team off. So most stay silent until they see a tweet like the one above, at which point they flood my DMs with private statements of support and relief. I’m happy to serve as a psychological outlet in that regard, but I’ll show you in a moment why they’re so afraid to say what they think.

Anyway, this is all just my opinion. I’m not married to it. If the trend comes around to allowing us to call all “male-bodied” people “dicks,” I might reconsider the position entirely. But we all know that Wrong Opinions Are No Longer Allowed On The Internet and therefore a doctor jumped in with one of the most delightfully fatuous replies I’ve ever received.

November 13, 2020

A Swedish Trilogy Pt. 2 – The Empire Strikes Back – Sabaton History 093 [Official]

Filed under: Europe, History, Media, Military — Tags: , , , , — Nicholas @ 04:00

Sabaton History
Published 12 Nov 2020

The Swedish Empire was on the verge of collapse. After years of mismanagement and neglect, King Charles XI. could only stand and watch as a huge Danish army invaded the realm from the south. Fortress after fortress fell in front of the Danish advance into Scania. With his back to the wall, King Charles XI. had only one option left: To fight! The Swedish Empire rallied its remaining forces and prepared to strike back with the fury of desperation. With the future of Sweden on the line, the two armies met on the frozen battlefield of Lund.

Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory

Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShop

Hosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek Kaminski
Archive: Reuters/Screenocean – https://www.screenocean.com

Sources:
Nationalmuseum
Finnish National Gallery
Icons from The Noun Project: Cannon by Graphic Nehar, Skull by Muhamad Ulum, prisoner by Luis Prado
Song:You Might Have Heard of Me – Arthur Benson

Music by: Sabaton

An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.

© Raging Beaver Publishing AB, 2019 – all rights reserved.

Oddly, the Canadian media evince no interest whatsoever in the Trudeau government’s malign plans for the Internet

Filed under: Business, Cancon, Government, Media — Tags: , , , , , , — Nicholas @ 03:00

In The Line, Peter Menzies shows how little the mainstream media outlets in Canada care about the power grab the feds are attempting with their proposed “get money from web giants” shakedown:

Canadian Heritage Minister Steven Guilbeault, 3 February 2020.
Screencapure from CPAC video.

In order to understand where media and public attention has been the past couple of weeks, all you had to do was listen in on Monday morning’s Ottawa news conference.

Six days after Heritage Minister Steven Guilbeault had introduced ground-breaking legislation to regulate content online, Prime Minister Justin Trudeau announced more cash to bring better Internet to rural and remote communities. There were also some COVID-19 updates and something about help for agriculture.

And, of course, the questions asked by the media were about the U.S. election. What else could possibly be of interest?

Eventually there were a few inquiries about Telesat and low-Earth-orbit satellites, but you get the point: things that matter to people’s daily lives such as cable bills, data plans, Netflix, cellular service, crappy WiFi and slow Internet connections haven’t been of much interest to Canadian media lately.

So there has been a dearth of chatter about Guilbeault’s controversial plan to (my words, not his): restrict consumer choice, tax Netflix to finance certified Canadian content (Cancon) and bring to an end the greatest period of prosperity in the history of the Canadian film and television industry. Did I mention stifling innovation, increasing streaming subscription costs and scaring away investment? No? My bad. Those too.

Guilbeault has decided that the agency dedicated to defining the nation’s TV and radio diet — the Canadian Radio-television and Telecommunications Commission (CRTC) — is now going to be in charge of what you are allowed to dine on online as well. No longer will you be able to manage your preferences. No more popcorn and candy for you. Going forward, Cancon spinach and broccoli will be on your plate every evening. Breathtakingly, Guilbeault has “modernized” communications legislation by giving authority over the Internet to something called a “radio-television” commission by using something still called the “broadcasting” act.

November 12, 2020

The General Relativity of Revolution | BETWEEN 2 WARS: ZEITGEIST! | E.03 – Spring 1919

Filed under: Architecture, Germany, History, Media, Russia, Technology, USA — Tags: , , , , — Nicholas @ 04:00

TimeGhost History
Published 11 Nov 2020

It is a springtime of revolution throughout the world in 1919 and not just the political kind. Era-defining advances in science and technology and iconic cinematography are made this season.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory

Hosted by: Indy Neidell
Written by: Indy Neidell and 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: Indy Neidell and Francis van Berkel
Edited by: Michał Zbojna
Sound design: Marek Kamiński

Colorizations:
Klimbim
Mikołaj Uchman
Wayne Degan
metacolor.org

Sources:
Library of Congress
Bundesarchiv
Icons from The Noun Project:
– retro computer By Tinashe Mugayi, MY
– audio sound recorder By Vectors Point, PK
– Radio by Bill Denk
– Old TV By Pascal Heß, DE
– Radio Tower by Iris Sun

Soundtracks from Epidemic Sound:
– “British Royalty” – Trailer Worx
– “Flight Path” – Cobby Costa
– “Deflection” – Reynard Seidel
– “Flight Path” – Cobby Costa
– “A Single Grain Of Rice” – Yi Nantiro
– “Trapped in a Maze” – Philip Ayers
– “Symphony of the Cold-Blooded” – Christian Andersen
– “Rainy Landscapes” – Farrell Wooten
– “Ancient Saga” – Max Anson

Archive by Screenocean/Reuters https://www.screenocean.com.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
1 day ago
J’accuse is one of the many iconic films we’ll explore in this series. The interwar period is when European cinema really starts to hit its stride again after some serious setbacks during the Great War. In those years, American cinema rocketed to the mainstream both at home and abroad, with revolutionary filmmaking techniques being developed that we still see today such as close-ups, huge cast lists, and realistic set design.

The post-Great War is set to be a great era in the history of cinema and not just because of the films themselves, J’accuse and other films are important as historical movers in their own right! They shape public perceptions, influence political change, and inspire whole social movements, so make sure you stay tuned to find out.

And in the meantime, are there any iconic interwar films you think deserve to be in this series?

November 7, 2020

Trump-supporting ethnic minorities were “enacting a form of white mimicry, or ‘white adjacency'”

Filed under: Media, Politics, USA — Tags: , , , , , , — Nicholas @ 03:00

In The Line, Kaveh Shahrooz looks at the accusations among the ultra-woke that members of ethnic minorities in the United States who voted for Trump can no longer be considered ethnic minorities and are guilty of variant forms of white supremacy:

Did self-hating racist Hispanic and Black people help Donald Trump? Did sexist women stop the promised Democratic blue wave?

Those may seem like bizarre questions, but according to the woke left, the answer is: yes.

A new narrative began to emerge on election night, after it became clear that Miami-Dade County — a heavily populated area in southern Florida — would go to Trump, thus preventing an early Joe Biden blowout. To the woke left’s chagrin, it was Trump’s significant support among Miami-Dade’s Hispanic voters, namely those in the Cuban-American and Venezuelan-American communities, that kept the state in the Republican column.

In a direct challenge to the widely held belief that Trump’s presidency is the result of a simple racist white patriarchal backlash, the incumbent president actually increased his support among Latinos, black males, Muslims, and Native Americans on election night. He also appears to have maintained much of his support among women.

To compensate for this cognitive dissonance, standard bearers of the woke left explained this phenomenon by implying that these ethnic minorities were enacting a form of white mimicry, or “white adjacency.” First out of the gate was the New York Times journalist Nikole Hannah-Jones, fresh off the controversy surrounding her 1619 Project, who tweeted that “white Cubans” should not be lumped in with “Black Puerto Ricans and Indigenous Guatemalans.”

Insofar as ethnic communities should not be assumed to share political interests simply because they speak the same language and come from roughly the same broad geographic region, it is hard to disagree with her. But her point was not anything nearly so straightforward. As she made clear in subsequent tweets, she believes that the Miami Cubans should more accurately be viewed as white because they sit atop “racial hierarchies based on whiteness.”

November 6, 2020

A Swedish Trilogy Pt. 1 – A New Hope – Sabaton History 092 [Official]

Filed under: Europe, History, Media, Military — Tags: , , , , , — Nicholas @ 04:00

Sabaton History
Published 5 Nov 2020

The Swedish nation was in turmoil, as news spoke of King Gustavus Adolphus’ death on the battlefield of Lützen in 1632. The Lion from the North was slain — but who would reign in his stead? Gustavus had fathered a young daughter, the 6-year old Christina. Torn between a grief-stricken Queen Mother and the overbearing duties to monarchy and country, Christina grew into an unhappy and troubled woman. Much was expected of her, as she was still the daughter of the legendary warrior-king. But was she able and willing to continue his legacy? Or would she rather forsake her throne in order to find her own future far away from Sweden?

Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory

Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShop

Hosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek Kaminski
Archive: Reuters/Screenocean – https://www.screenocean.com

Sources:
– Nationalmuseum
– Statens Museum for Kunst
– Livrustkammaren
– Herzog Anton Ulrich Museum
– Swedish capture of Kauzenburg 1631 colorized by Dextwin

All music by: Sabaton

An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.

© Raging Beaver Publishing AB, 2019 – all rights reserved.

QotD: When you use a racist lens, everything looks like racism

Filed under: Books, Media, Politics, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

[White Fragility author Robin] DiAngelo uses similar techniques to support her second core theory that all white people are racist. For example, DiAngelo lays another trap that makes it impossible for white people to speak ill of any neighborhood with high crime rates in which many people of color reside. When DiAngelo’s friends warned her not to buy a home in neighborhoods with relatively high crime rates and poorly rated schools, DiAngelo later discovered that the neighborhoods had a high percentage of black and brown residents. From this, she concluded that her friends’ warnings were racially motivated and that “my fellow whites had communicated the racial boundaries to me.” Did you spot the trap?

If DiAngelo’s friends had told her not to live in the neighborhoods because they had black and brown residents, she could call them out for overt racism. But even when her friends made no mention of race whatsoever, DiAngelo attributed their warnings to racism as well. There was no way for her friends to mention the neighborhood’s high crime rates without DiAngelo finding them guilty of racism.

DiAngelo also supports her theory that all white people are racist by interpreting ambiguous events to support her conclusions, despite other plausible explanations. In one anecdote, DiAngelo describes an incident in which a white female teacher had two black students at her desk. The teacher prefaced something she said with the word “girl.” One student felt that the use of the word “girl” was racist. The other student disagreed, saying that the teacher called all her students “girl” regardless of their race.

Any reasonable person would conclude that if the teacher called every student — white, black, Asian, Latinx — “girl,” the teacher’s use of the word resides somewhere between “not racist” and “open to interpretation.” But DiAngelo reached a different conclusion, demonizing the teacher’s lack of concern for the offended student’s feelings, and calling the teacher arrogant for thinking the use of “girl” was not racist. To be clear, while teachers should listen to their students’ concerns, there is no proof this teacher’s word choice was racially motivated. And ironically, DiAngelo is guilty of everything she criticizes the teacher for because DiAngelo arrogantly ignores the other black student who did not think the comment was racist.

David Edward Burke, “The Intellectual Fraud of Robin DiAngelo’s White Fragility“, The Logical Liberal, 2020-06-13.

November 5, 2020

America on the Brink of Revolution? | BETWEEN 2 WARS: ZEITGEIST! | E.02 – Winter 1919

Filed under: Britain, Business, France, History, Media, USA — Tags: , , , , , , , — Nicholas @ 04:00

TimeGhost History
Published 4 Nov 2020

There is revolution and fear of revolution throughout the world in the winter of 1919. But cultural and technological revolutions are also bringing hope to many. A new age of Jazz and Cinema is about to reach America and Europe.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory

Hosted by: Indy Neidell
Written by: Indy Neidell, Francis van Berkel, and 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
Research by: Indy Neidell, Francis van Berkel, and Spartacus Olsson.
Archive Research: Daniel Weiss
Edited by: Daniel Weiss
Sound design: Marek Kamiński

Colorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…
Mikołaj Uchman
Norman Stewart – https://oldtimesincolor.blogspot.com/

Sources:

From the Noun Project:
– Money by Gilberto
– lightbulb By Maxim Kulikov

Soundtracks from Epidemic Sound and ODJB:
– “One More for the Road” – Golden Age Radio
– “The Last Journey” – Line Neesgaard
– “Tiger_Rag” – ODJB
– “Not Safe Yet” – Gunnar Johnsen
– “Please Hear Me Out” – Philip Ayers
– “Dark Shadow” – Etienne Roussel
– “The Inspector 4” – Johannes Bornlöf
– “I Won’t Give You Up” – Almost Here
– “The Charleston” – Macy’s Voice
– “Defeated” – Wendel Scherer

Archive by Screenocean/Reuters https://www.screenocean.com.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
2 days ago (edited)
As in life, this series will always be a curious balance of light and dark. In the winter of 1919, one Parisian might have tickets to see the Original Dixieland Jass Band while their neighbour lies destitute after the war, and a well-to do man in Glasgow might be at the cinema while tanks rolls into his city to quell industrial unrest.

Troubled and fascinating times then and troubled fascinating times now here in 2020. All of us here at TimeGhost hope that all of you are healthy and staying safe. And hey, if you need some entertainment to pass the time, you can find plenty of Between 2 Wars episodes alongside WW2 In Real Time and BIO Specials!

November 4, 2020

The replication crisis in all fields is worse than you imagine

Filed under: Media, Science — Tags: , , , — Nicholas @ 03:00

It may sound like a trivial issue, but it absolutely is not: scientific studies that can’t be replicated are worthless, yet our lives are often impacted by these failed studies, especially when politicans are guided by junk science results:

More than 70% of researchers have tried and failed to reproduce another scientist’s experiments, and more than half have failed to reproduce their own experiments. Those are some of the telling figures that emerged from Nature‘s survey of 1,576 researchers who took a brief online questionnaire on reproducibility in research.

The data reveal sometimes-contradictory attitudes towards reproducibility. Although 52% of those surveyed agree that there is a significant ‘crisis’ of reproducibility, less than 31% think that failure to reproduce published results means that the result is probably wrong, and most say that they still trust the published literature.

Data on how much of the scientific literature is reproducible are rare and generally bleak. The best-known analyses, from psychology and cancer biology, found rates of around 40% and 10%, respectively. Our survey respondents were more optimistic: 73% said that they think that at least half of the papers in their field can be trusted, with physicists and chemists generally showing the most confidence.

The results capture a confusing snapshot of attitudes around these issues, says Arturo Casadevall, a microbiologist at the Johns Hopkins Bloomberg School of Public Health in Baltimore, Maryland. “At the current time there is no consensus on what reproducibility is or should be.” But just recognizing that is a step forward, he says. “The next step may be identifying what is the problem and to get a consensus.”

Failing to reproduce results is a rite of passage, says Marcus Munafo, a biological psychologist at the University of Bristol, UK, who has a long-standing interest in scientific reproducibility. When he was a student, he says, “I tried to replicate what looked simple from the literature, and wasn’t able to. Then I had a crisis of confidence, and then I learned that my experience wasn’t uncommon.”

The challenge is not to eliminate problems with reproducibility in published work. Being at the cutting edge of science means that sometimes results will not be robust, says Munafo. “We want to be discovering new things but not generating too many false leads.”

QotD: The dangers of breaking the “fourth wall”

Filed under: Media, Quotations — Tags: , , , — Nicholas @ 01:00

Those are the givens. It doesn’t matter how ludicrous they are, so long as you don’t break your own rules.

Note that the rules can be broken from either side, the spectacle’s or the audience’s. Movies these days are most often guilty of the former, while rasslin’ bankrupted itself doing the latter. The last Star Wars movie I saw, for instance, was the first one with Girl Luke. It broke its own in-universe rules by having Girl Luke do everything Luke did, minus the training and effort and self doubt. She was just instantly awesome at everything, because grrrl power, and now that franchise is in the process of bankrupting (oh God, let it be so, and soon!) the entire Disney empire. Rasslin’ first tried to fool the “smart marks,” then went the nudge-nudge wink-wink route — both fatal to the suspension of disbelief for the majority of fans, who were still operating under the old contract.

Under the old contract, “wrestling fan,” like “Star Wars fan” or “Schwarzenegger movie fan” or what have you was a temporary identity. You went to the spectacle to put your real self aside for a few hours. You buy the ticket, and cease being Joe Schmoe the mechanic or the plumber or the customer service rep or the shmuck who still lives at home because he just can’t catch a break. Instead you’re transported to a galaxy far, far away, where bodybuilders are time-traveling robots and men in spandex come back from the dead to body slam their rivals.

For that kind of person, breaking the fourth wall, as the lit-crit types call it, is a slap in the face. Ha ha, fuck you, you loser! You don’t get to enjoy a few hours in a galaxy far, far away from your normal life, because we’ll be constantly reminding you that all of this is fake fake fake fake fake! You can watch the body slams and light saber fights, but every time you’re just starting to get into it and forgetting yourself, we’re gonna pop back up with an in-your-face aside! You’re a loser, and the very fact that you’re here watching this proves you’re a waste of oxygen! Take that!

In other words, loser is the fixed identity on which Postmodern entertainment is parasitic. This is just aces for the dorks-with-big-microphones who write the Tweets, since nudge-nudge wink-winking each other about what losers those other fans are is what keeps them, the Postmodern ironists, from feeling like losers themselves. But see above, with wrestling. Or Star Wars, or now sportsball, or pretty much anything else. The Postmodern ironists don’t buy tickets. They don’t go to the show in person, because they know that bringing their Postmodern ironic act into the theater would likely end with them getting their asses kicked.

Severian, “Rasslin'”, Rotten Chestnuts, 2020-07-26.

November 2, 2020

Federal government to web giants: “BOHICA!”

Filed under: Bureaucracy, Business, Cancon, Government, Media — Tags: , , , , — Nicholas @ 03:00

Michael Geist provides an unauthorized backgrounder on the Canadian government’s quixotic attempt to shakedown the likes of Netflix for money to give to “struggling” Canadian media companies:

Canadian Heritage Minister Steven Guilbeault, 3 February 2020.
Screencapure from CPAC video.

Canadian Heritage Minister Steven Guilbeault is set to introduce his “Get Money from Web Giants” Internet regulation bill on Monday. Based on his previous public comments, the bill is expected to grant the CRTC extensive new powers to regulate Internet-based video streaming services. In particular, expect the government to mandate payments to support Canadian content production for the streaming services and establish new “discoverability” requirements that will require online services to override user preferences by promoting Canadian content. The government is likely to issue a policy direction to the CRTC that identifies its specific priorities, but the much-discussed link licensing requirement for social media companies that Guilbeault has supported will not be part of this legislative package.

These reforms mark the culmination of a dramatic reversal in government digital policy. After then-Heritage Minister Melanie Joly unveiled her 2017 digital cancon strategy that focused on market-based solutions and emphasized exports of Canadian culture, extensive lobbying gradually let to a major policy flip flop. The CRTC reversed its prior position on Internet streaming regulation in 2018 with a regulate-everything approach, the deeply flawed Yale report released earlier this year provided the blueprint for CRTC-led regulation, and Guilbeault jumped on board with a declaration that his top legislative priority was to “get money from web giants.”

On Monday, the government will undoubtedly line up the lobby groups that supported the reform to provide positive quotes, suggest reforms will lead to billions in new revenues, and claim the bill ensures regulatory fairness by requiring that everyone contribute. Yet much of the policy is based on fictions: that this levels the playing field, that there is a Cancon crisis, that discoverability requirements respond to a serious concern, that this will result in quick payments to the industry, that this is consistent with net neutrality, or that consumers will not bear the costs of reform.

None of this is true. But beyond those issues – each discussed in further detail below – this most notably represents a significant new source of speech regulation. We do not require government authorization to publish newspapers, blog posts, or to simply voice our views in a public forum. That we require governmental authorization in the form of licensing for broadcasters was largely justified in furtherance of cultural policies on the grounds of limited access to scarce spectrum. That justification simply does not apply to the Internet, no matter how many times Guilbeault refers to the inclusion of Internet companies within the “broadcast system.” This is not a matter of Internet exceptionalism. Laws and regulations such as taxation, competition, privacy, and consumer protection are all among the rules that apply regardless of whether the service is offline or online. But speech regulation by the CRTC should require a far better justification than the lure of “free money” from Internet companies.

QotD: The Patriarchy

Filed under: History, Media, Politics, Quotations — Tags: , , , — Nicholas @ 01:00

Since anything men utter is tainted by their place in the power hierarchy and their implicit desire to maintain that power – a homeless man at Grand Central station may be surprised, even delighted, to learn that he occupies a “privileged” position in this hierarchy – nothing a man says can be taken at face value because, consciously or unconsciously, it is imbued with patriarchal values and language. Whether they realise it or not, all men are engaged in a struggle to consolidate and extend their power, particularly over women. This is doubtless why, according to this theory, rape is considered a manifestation of male dominance – of the patriarchy – rather than an expression of sexual desire. Power is everything – which tells you something, perhaps, about the status anxiety of this theory’s most fanatical adherents.

Thus it is okay to hate all men – they are all infected by the canker of patriarchy which, unlike individual thoughts and motivations, is a kind of all-powerful super-organism, a hive mind controlling its male worker bees. Men as individuals are simply tokens of something deeper – structural misogyny embedded in institutional power. If you’re a man who thinks you are not a misogynist, who in fact thinks you like women perfectly well, you are deluding yourself. For such men, their sexism is simply unconscious, just as in classical Marxism the “good” bourgeois was unconscious of the fact that he could not avoid exploiting his workers or employees, even though he might be providing them with a decent wage, good working conditions, and health and pension benefits.

This analysis, given a moment’s thought, doesn’t make a lot of sense. Even if you accept that all the ills of the world are down to patriarchy and the dominance of men, you have to concede the corollary – that all the triumphs of humankind are down to the patriarchy also, from medicine and science to the highest reaches of art and culture.

Women may point out that they have been excluded from these fields until now, and that’s largely true, although biology – the lack of control women have historically had over their own fertility and the greater physical strength of men – might be a far more simple and plausible explanation than the existence of a hypothetical, all-powerful super-organism. However, the very act that men hold the balance of power is proof of the existence of patriarchy, according to this belief system.

Tim Lott, “Why It’s Not OK to Hate Men”, Quillette, 2018-08-14.

November 1, 2020

QotD: Trumbo

Over the past weekend I watched Trumbo, the story of the Marxist screenwriter blacklisted by Hollywood during the Red Scare back in the 1950s. To say that I watched it with a jaundiced eye would be a very big understatement, because I suspected (just from the trailer) that the movie would just be one big blowjob for both Dalton Trumbo and his merry little band of Commiesymps who infested Hollywood back then.

And it was. Needless to say, the movie made villains of the conservatives who opposed the Marxist infiltration: people like John Wayne and Hedda Hopper in particular, Wayne because Wayne, and Hopper because she had a son serving in the U.S. Navy during the Korean War. Of course Wayne was made out to be a bully and Hopper a vindictive bitch — and the Senators and Congressmen who haled the Commies in front of the Senate and House Un-American Committee (HUAC) were depicted as ideological purists who saw Communists behind every bush — even though, in the case of Hollywood, there were Commies behind every bush at the time.

Of course, much was made of the fact that being a Communist wasn’t actually illegal (then, and now), and Trumbo made a great show of this being a First Amendment issue — which it was — and how these Commies all wanted to improve America, but of course there were evil right-wingers like Wayne, Joe McCarthy and HUAC harassing them at every turn.

The execution of the traitors Julius and Ethel Rosenberg got a little puff piece in the movie, which didn’t — couldn’t — actually say they weren’t guilty of treason espionage, so it was brushed over with the throwaway that it was the first execution for espionage in peacetime, as though peacetime should give espionage a pass. And if that wasn’t enough, the Rosenberg children were paraded around as sympathy magnets — as they still are — because Communists have no problem using children to serve their own purposes.

Kim du Toit, “Blacklists Matter”, Splendid Isolation, 2020-07-28.

October 31, 2020

Atun-Shei’s Dracula

Filed under: Books, Britain, Europe, History, Media — Tags: , , , , , — Nicholas @ 06:00

Atun-Shei Films
Published 30 Oct 2020

🎃 Get 50% OFF 👉🏻 your first 6 months of Babbel 🕰 limited time only! HERE: http://bit.ly/AtunSheiFilms

An in-depth analysis of Dracula, the original 1897 book by Bram Stoker, possibly the most influential horror novel ever written. Why has the Count enjoyed such longevity in popular culture? What made Dracula so scary for Victorian readers? And what – pray tell – makes vampires so attractive?

Support Atun-Shei Films on Patreon ► https://www.patreon.com/atunsheifilms

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~REFERENCES~

[1] “Dracula Movies” (2016). IMDB https://www.imdb.com/list/ls058255047/

[2] Leslie S. Klinger. The New Annotated Dracula (2008). W.W. Norton & Company, Page xvi

[3] Klinger, Page xxi

[4] Dr. Andrzej Diniejko. “Slums and Slumming in Late-Victorian London.” The Victorian Web http://www.victorianweb.org/history/s…

[5] Gill Davies. “London in Dracula; Dracula in London” (2004). Literary London: Interdisciplinary Studies in the Representation of London, Volume 2 Number 1 http://www.literarylondon.org/london-…

[6] Klinger, xxxii-xli

[7] “An 1897 Review of Bram Stoker’s Dracula” (2019). Literary Hub https://bookmarks.reviews/an-1897-rev…

[8] “The Spectator‘s Review of Dracula, 1897″ (2012). The Spectator https://www.spectator.co.uk/article/t…

[9] olly Furneaux. “Victorian Se•ualities” (2014). British Library https://www.bl.uk/romantics-and-victo…

[10] Klinger, Page xvii-xviii

[11] Greg Buzwell. “Daughters of Decadence: The New Woman in the Victorian Fin De Siécle” (2014). British Library https://www.bl.uk/romantics-and-victo…

Modern Halloween costumes show us how wealthy we have become

Filed under: Cancon, Economics, History, Media, USA — Tags: , , , , , , — Nicholas @ 03:00

Richard Lorenc looks back at the “costumes” for Halloween from the 1970s and 1980s to help illustrate how much our general economic picture has improved since those dark days:

While my husband and I were recently struggling to figure out our costumes for this Halloween (and we still don’t have any idea), he pulled up some old commercials on YouTube. The off-the-shelf options that trick or treaters had were, in a word, pitiful.

Basically, costume makers thought it was ok to make a front-only plastic mask (in any color, really) of a character and top it off with a plastic smock featuring an illustration of said character with either its name or the name of the show or movie it comes from. There was no attempt to dress in the character’s actual attire. If you wanted that, you’d either have to know a professional costumer or cobble together something from your closet.

Take a look for yourself at just how costume-poor we used to be:

Obviously, every costume is an opportunity to generate interest in a brand or franchise, and slapping on a logo is an easy way to get a name out there, but these costumes truly heralded a dark time for Halloween. Some may even argue that it demonstrated crass consumerism at its worst, with cynical companies taking the easiest route to grabbing a couple of bucks from desperate parents.

The truth of the tragedy of terrible old Halloween costumes has to do with a simple idea: specialization.

[…]

The next time you compare our screen-accurate store-bought costumes of Darth Vader and Mr. Incredible to those of yesteryear, remember that we enjoy them today not because previous generations didn’t care for accurate costuming, but because growing trade across the globe has generated so much wealth for each of us that we can now demand things we may have only imagined previously.

I only realized as I got ready to schedule this post that it was an article I’d blogged a couple of years back, but the point of the story is still relevant even in our pandemic-wracked economy of 2020.

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