Quotulatiousness

October 17, 2020

Actually, his photo has that effect on me too …

… except that I still keep the beard. David Warren, on the other hand, is clean shaven:

“Jack Dorsey, Twitter and Square founder, in a London cafe in November 2014.” by cellanr is licensed under CC BY-SA 2.0

Every time I see a photograph of Jack Dorsey, I want to wash and shave. It is seldom that another human being has such an hygienic effect on me; especially one I have never personally met. Thanks to him, I may report to gentle reader that, up here in the privacy of the High Doganate (surrounded by jackhammers), I am quite clean-shaven this morning. I was able to resist the temptation to bathe in Dettol, but my shower was the next best thing.

I’m going out on a limb here. I am assuming my reader knows who Jack Dorsey is. (It’s not hard to find his picture.)
The boss of Twitter is among the “deep tech” executives who have, in a less ambiguous way than ever before, shut the accounts of the Trump campaign, within three weeks of a national election, and are blocking those (rather numerous) subscribers who are trying to forward the meaty revelations appearing in the New York Post. Those, incidentally, unambiguously show that one of the presidential candidates (Biden, of all people) is seriously fraudulent and corrupt. Who’d have guessed it? (Well, I did.)

Now, when I write “deep tech,” some reader will accuse me of touting a conspiracy theory. I use this expression on the analogy of “deep state.” Curiously, I don’t think this is a conspiracy at all. In the District of Columbia, where the bureaucratic institutions of the Merican Nanny State are chiefly located, Democrats routinely take well over 90 percent of the vote. Republicans do not necessarily finish second, however. That the labour pool for these institutions is overwhelmingly “progressive,” is something I infer.

Ditto for Silicon Valley. The residents do not need to conspire, although the speed at which identical editorial decisions are reached, is amazing. This I attribute to their electronic hardware.

Some seven years ago, under the influence of well-intended friends, I did a three-month experiment of “being on Twitter.” They said it would immensely increase my “hits,” and it did — while dramatically decreasing attention to them. I was flattered by all the fan-mail I received, because I am a shallow person, but when the three months were up I got off. For I do not covet a mass audience, or that kind of fame. Engaging in live-time battles of wits with other Twitterers is fun for a while, but sooner or later one recovers one’s self-respect. Or at least some people do.

QotD: The inherent triviality of most “news” programs

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

Anyone who has ever appeared on a radio discussion programme will know how frustrating the whole business is. The time allotted even for the most serious subjects is short: a BBC producer once invited me on to a “long” discussion about the burning issue of the day, and when I asked what she meant by long, she replied with neither irony nor shame, but perfectly matter-of-factly, “Six minutes”. Since there were to be three other guests on the programme, in-depth analysis was hardly the order of the day. Brevity these days is not the soul of wit: it is the guarantor of triviality.

Anthony Daniels, “The European Working Time Directive & the Sound-Bite Culture: why the latter makes arguing against the former impossible”, The Social Affairs Unit, 2004-08-09.

October 16, 2020

“The Art of War” – Wisdom of Sun Tzu – Sabaton History 089 [Official]

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

Sabaton History
Published 15 Oct 2020

Sun Tzu says: “The Art of War is of vital importance to the state. It is a matter of life and death, a road either to safety or to ruin.” The Chinese Art of War by Sun Tzu is one of the most influential books in history. Throughout the centuries it would accompany generals, statesmen, and philosophers alike. Those who follow his teachings, who safeguard themselves against defeat and make sure of victory before the battle is fought, will triumph. Those who know everything about themselves and their enemies will achieve supreme excellence.

The Art of War by Sun Tzu Text: https://www.gutenberg.org/files/132/1…

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

Listen to “The Art of War” on the album The Art of War:
https://music.sabaton.net/TheArtOfWar

Watch the Official Live Clip of “The Art of War” here:
https://www.youtube.com/watch?v=aYoK1…

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 Dołega
Sound Editor: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.com

Visual Sources:
– Pictures of Ming Dinasty courtesy of Yprpyqp from Wikimedia
– Pictures from the period of Opium War courtesy of Massachusetts Institute of Technology © 2010 Visualizing Cultures
– Wellcome Images
– Major National Historical and Cultural Site in China
– Pictures of The Art of War book courtesy of vlasta2, bluefootedbooby on flickr.com
– Metmuseum
– Picture of Eastern Han Calvary courtesy of GaryLee Todd from Wikimedia
– Granger Archive
– Hallwyl Museum
– Nomura Art Museum
– The icons from The Noun Project: Man by vanila, Asian woman by Jaime Serra, Wise Man by Éléonore Sabaté

All music by: Sabaton

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

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

October 15, 2020

Twitter will now helpfully prevent you from committing thoughtcrime, citizen!

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

When you appoint yourself the guardian of speech, you quickly become the gatekeeper of all speech:

October 14, 2020

QotD: The frenetic pace of cancel culture

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

Today’s revolutionaries aren’t very good students of history, to say the least. They are full of zeal, have the requisite urge to destroy, the obligatory faith in their ability to remake humankind, the belief that widespread property destruction is good PR, and so on. What they lack is pacing.

You want to say: Slow down, young’uns! First you seize power and send all your class enemies to the camps or the grave. Then you turn on your own to purge the ideologically wobbly or those who are insufficiently zealous.

But these idiots are eating their own before they have power. Harry Potter author J. K. Rowling? Off to the gulag for believing in biological sex. The New York Times editorial-page editor earned defenestration for believing in free speech. Day after day on Twitter there’s a frenzy of witch-burning and heretic-stoning; the entire platform is like a self-lubricating guillotine.

Then again, it might be seen as a new, efficient model. After you’ve overthrown the tyrants and set up the People’s Committee, you have a new world to build. Even if you devote the morning to inventing a postcapitalist paradigm and spend the afternoon figuring out how to get fresh water and sanitation to your typhus-infested camp, that means you have to spend the evening drawing up proscription lists. Purging is necessary, but who has the time?

So they’re getting it out of the way now, purging the culture and the Twitter lists of people and things that need to be extirpated for the good of all.

Perhaps this is what happens when people who have been bingeing on TV shows for three months with no place to go decide to have a revolution. Instead of watching the shows once a week and pacing themselves, it’s a whole season in one day.

James Lileks, “Twinkling’s Canceled, Little Star”, National Review, 2020-07-06.

October 9, 2020

Ruina Imperii” – End of an Empire – Sabaton History 088 [Official]

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

Sabaton History
Published 8 Oct 2020

The death of Charles XII was followed by the rapid decline of the Swedish Empire. The Swedish nation had suffered much in the last ten years of his reign. The constant state of war had brought famine and poverty and ruined the state in many ways. Charles XII fought Sweden’s numerous enemies in the vain hope of restoring the empire to its old glory. He was the King who most strongly believed that Sweden was destined for imperial greatness, no matter the cost. What can be said about his reign? How would history judge his character or his decisions as a King?

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

Listen to “Ruina Imperii” on the album Carolus Rex:
Carolus Rex (English Version) – https://music.sabaton.net/CarolusRexEN
Carolus Rex (Swedish Version) – https://music.sabaton.net/CarolusRexSE

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

Visual Sources:
– Nationalmuseum
– Carl Andreas Dahlström – httpruneberg.org dcateckn0126
– Icons form The Noun Project: Farm by Laymik, Fruit by Eucalyp, Vegetable by Eucalyp, treasure by dDara, treasure by Eucalyp, Wheat Grain Bag by Symbolon & Wine by Vladimir Belochkin.

All music by: Sabaton

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

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

QotD: How to analyze complex multivariate systems for the popular press

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

  1. Choose a complex and chaotic system that is characterized by thousands or millions of variables changing simultaneously (e.g. climate, the US economy)
  2. Pick one single output variable to summarize the workings of that system (e.g. temperature, GDP)
  3. Blame (or credit) any changes to your selected output variable on one single pet variable (e.g. capitalism, a President from the other party)
  4. Pick a news outlet aligned with your political tribe and send them a press release
  5. Done! You are now a famous scientist. Congratulations.

Warren Meyer, “Modern Guide to Analyzing Complex Multivariate Systems”, Coyote Blog, 2018-06-25.

 

 

 

 

 

October 7, 2020

Canada’s new documentary monoculture – many now “skew the truth by reinforcing the viewpoint du jour

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

In The Line, Christina Clark explains why she’s no longer in the business of making documentaries in Canada:

Many of the stories now told through documentary skew the truth by reinforcing the viewpoint du jour. Interviews and scenes that break with the chosen narrative, that offer something other than a black-and-white approach to society and the complexities of humanity, happen off camera or end up on the editing room floor. This is all in an effort to promote diverse voices and the political opinions that allegedly support them. But when we lay claim to a singular viewpoint or dismiss a perspective because the creator’s or the subject’s skin tone or gender does not fit the narrative of inclusion, we are actually removing diversity from the storytelling equation. And what we’re left with are one-sided storylines that reinforce an echo chamber of virtue signalling.

I can no longer deny the dysfunctional approach to telling half-truths and undermining alternate viewpoints in my industry in the name of securing public funding for programming that fails to resonate with the public that is paying for it. Over the last year, I’ve been turning down contracts and finding an exit strategy. I’m pre-emptively cancelling myself.

Documentary was once considered Canada’s national art form. Part of our country’s success with the medium can be attributed to the creation of our National Film Board (NFB), established to “make and distribute films designed to help Canadians in all parts of Canada to understand the ways of living and the problems of Canadians in other parts.” The NFB was founded to provide public funding to storytellers to show us who we are, as a country, as citizens.

To secure public funding for a documentary film or program in Canada, producers typically need to have a broadcaster already signed on to the project. Then, they can apply to funds like the Canada Media Fund, Telefilm or Rogers. Without a broadcaster licence, you cannot apply for public funding. The criteria for licencing a film or television series has narrowed in recent years — not unlike the audiences these programs are targeting.

Take, for example, the Creative Relief Fund that the CBC put together during the early months of COVID to award $2 million in development and production funding for new projects, ranging from fiction and non-fiction television to documentary shorts to plays and podcasts. This was an enticing invitation for creators in lockdown. During this time, friends and colleagues of mine in the industry were messaging each other back and forth, offering feedback on each other’s ideas, as we were all intending to apply. These are some questions we all wondered aloud, in the safety of our private chats: “Do you think this story is diverse enough?” “This story might be too white …” “I don’t think the language is woke enough, do you think they’ll see the bigger story here?” That’s because many broadcasters have “Inclusion and Diversity Plans” that you have to fill out for your project, that track the racial and gender makeup of your crew and your interviewees. While it is not explicitly mandatory to accommodate broadcasters’ criteria for diversity, a lot of filmmakers already know before they even pitch an idea that their chances of getting greenlit are greater if they do.

October 5, 2020

QotD: Language changes to accord with critical studies theory

A Canadian Broadcasting [Corporation] program also debuted a new term this past week: “non-straight cisgender people.” This is the newly approved newspeak for gay people, parsed through the language of critical queer studies. The proponents of this new language seem eager to retire familiar terms like “gay men” or “lesbians” — perhaps because they suggest that the homosexual experience is rooted in basic human nature and can exist outside the parameters of structural oppression. So they find ways to define us in terms of queer theory, insisting there are only oppressed LGBTQ+ people. That’s also why, for example, so many on the left insist that gay white men had very little to do with Stonewall, which was led, we’re told, by trans women of color, subsequently betrayed by white men, who stole the movement from them. That this is untrue is irrelevant. It’s a narrative which serves to dismantle structures of oppression. And that’s all that matters.

Leading progressive maternity and doula organizations now deploy and encourage a whole array of “gender-neutral language” with respect to sex, birth, labor, and parenting. And so we now have the terms “chest-feeding,” “persons who menstruate,” “persons who produce sperm,” and “birthing person” for breastfeeding, women, men, and mothers, respectively. And instead of a butthole, we have a “back-hole”; instead of a vagina, we have a “front hole.” “Ovaries” and “uterus” are now rendered as “internal organs,” which may strike you as somewhat vague. These may sound completely absurd now, but given the choke hold critical gender theory has on almost all elite organizations, you can be sure you’ll hear them soon enough. They’ll likely be mandatory if you want to prove you’re not a transphobe. It was an objection to one of these terms — “people who menstruate” — that got J.K. Rowling tarred again as a bigot.

Those of us who oppose this abuse of the English language, who try to abide by Orwell’s dictum to use the simplest, clearest Anglo-Saxon words to describe reality, are now instantly suspect. Given the fear of losing your job for resisting this madness, most people will submit to this linguistic distortion. As you can see everywhere, the stigma of being called a bigot sweeps away all objects before it. But the further this goes — and there is no limiting principle in critical theory at all — the less able we are to describe reality. Which is, of course, the point. Narratives, only narratives, exist. And power, only power, matters.

Andrew Sullivan, “China Is a Genocidal Menace”, New York, 2020-07-03.

October 3, 2020

“Metal Machine” – The Tribute to Heavy Metal – Sabaton History 087 [Official]

Filed under: Media — Tags: , — Nicholas @ 04:00

Sabaton History
Published 2 Oct 2020

Come touch my Metal Machine!

It is the song that serves best as a love letter to some of the greatest bands in Heavy Metal History. From Black Sabbath, to Iron Maiden, Judas Priest, to Metallica and Manowar — Metal Machine is a hymn to the musical influences of Sabaton.

Listen to “Metal Machine” on the album Primo Victoria:
https://music.sabaton.net/PrimoVictoria

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
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.com

Pictures of Black Sabbath, Judas Priest, Metallica, Manowar, Ronnie James Dio, and Mötley Crüe performing, courtesy of:
– Fernando Catalina Landa from Flickr
– Harry Potts from Wikimedia
– Raph_PH from Wikimedia
– dr_zoidberg from Flickr
– Aaron Rubin from Wikimedia
– Ozseepapa from Wikimedia
– Every Record Tells a Story
– Robson Batista on Flickr
– Shane Hirschman
– Alex Ex derivative work by Viniciusmc on Wikimedia
– MusikAnimal on Wikimedia
– Andrew King from Flickr
– Egghead06 from Wikimedia
– Diego Torres Silvestre Flickr
– Carl Lender on Flickr
– Ronald Ali-Khan from Wikimedia
– Rockman (www.rockman.no) from Wikimedia
– Catskingloves on Wikimedia
– antxoa from Flickr
– Firestormmd from Wikimedia
– Jockerre on Wikimedia
– whittlz from Flickr
– Edd from Flickr
– Drums600 from Wikimedia
– Mathias Trumpp from Wikimedia
– TommyD2019 from Wikimedia
– fürschtua from Flickr
– Bjornsphoto from Wikimedia
– Simon Davison from Flickr
– Mickey Sanker from Wikimedia
– Bjornsphoto from Wikimedia

Visual sources:
– National Archives NARA
– 20 minutos
– Icons from The Noun Project: Amplifier by Lee Mette, guitarist by ProSymbols and Marvdro, News Ad by Priyanka, Drum by Gan Khoon Lay.

All music by: Sabaton

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

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

October 1, 2020

Historical Breakdown of A Bridge Too Far – Planning and Failure of Market Garden I RHINELAND 45

The Great War
Published 30 Sep 2020

Support our brand new World War 2 documentary about The Battle of the Rhineland (not to be released on YouTube): https://realtimehistory.net/rhineland45

After last year’s Downfall video (with over 1 million views!) we thought we look at another classic WW2 movie and give you a breakdown about the historical figures and background. Our pick this time: A Bridge Too Far.

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» SOURCES
A. Beevor, Arnhem: The Battle for the Bridges (2018)
B. Horrocks, Escape to Action (1960)
R. Neillands, The Battle for the Rhine 1944 (2005)
Builder, Bankes, Nordin, Command Concepts (1999)
www.pegasusarchive.org
www.nam.ac.uk/explore/market-garden
www.iwm.org.uk/history/the-story-of-operation-market-garden-in-photos

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Presented by: Jesse Alexander
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Editing: Toni Steller
Motion Design: Philipp Appelt
Mixing, Mastering & Sound Design: http://above-zero.com
Maps: Daniel Kogosov (https://www.patreon.com/Zalezsky)
Research by: Matthew Moss
Fact checking: Florian Wittig

Channel Design: Alexander Clark
Original Logo: David van Stephold

Contains licensed material by getty images
All rights reserved – Real Time History GmbH 2020

From the comments:

The Great War
6 hours ago
Support our brand new World War 2 documentary about The Battle of the Rhineland (not to be released on YouTube): https://realtimehistory.net/rhineland45 *

*We know that some of you don’t like the fact that we upload non-Great War content once in a while. But here are a few fun facts: Last year’s video about THAT scene from Downfall has been one of our most successful videos ever produced. It helped us spreading the word about our crowdfunding campaign last year and it also brought new subscribers to The Great War that hadn’t heard about it. And in the cut-throat world of the YouTube attention economy this is really important for our continued existence. Another “fun” fact: Both this video and the Downfall video were both claimed for copyright violation even though they clearly fall under fair use. We disputed and lost and now there is nothing we can do about the fact that someone else is earning money through our work. Just one of the reasons why it’s increasingly frustrating working with YouTube and why we are exploring other avenues for The Great War and our other projects.

Far from being in trouble, Canadian film and TV investment has nearly doubled in the last 10 years

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

The Canadian government — particularly Canadian Heritage minister Steven Guilbeault — is eager to pass legislation to “get money from the web giants” and their primary justification is the claim that Canadian TV and movie funding has been shrinking. As Michael Geist explains, that’s a pants-on-fire lie:

CMPA Profile – Financing, Sources: CMPA Profile 2019, 2016, 2013

Canadian Heritage Minister Steven Guilbeault has said that his top legislative priority is to “get money from web giants.” While much of the attention has focused on his ill-advised plan to require Facebook to obtain licences for linking to news articles, his first legislative step is likely to target Internet streamers such as Netflix, Amazon and Disney with new requirements to fund Canadian content and to increase its “discoverability” by making it more prominent for subscribers. Based on his comments at several town halls, Guilbeault is likely to also create new incentives for supporting indigenous and persons of colour in the sector with a bonus for those investments (potentially treating $1 of investment as $1.50 for the purposes of meeting Cancon spending requirements). Much of the actual implementation will fall to the CRTC, which will be granted significant new regulatory powers and targeted with a policy direction.

Guilbeault’s case for establishing new mandated payments is premised on the claim that support for the film and television sector is declining due to the emergence of Internet streaming services, which have resulted in decreased revenues for the conventional broadcast sector and therefore lower contributions to Cancon creation. In fact, Guilbeault recently told Le Devoir that without taking action there would be a billion dollar deficit in support in the next three years. He says that his objective is to actually generate a few hundred million more per year in local production by the Internet streamers. In other words, he’s expecting roughly $2 billion in new investment over three years in Cancon from U.S. entities due to his planned regulations (moving from a billion dollar deficit to a billion dollars in extra spending).

While Guilbeault frames these regulatory requirements as a matter of fairness and “rebalancing”, industry data over the past decade tell a much different story. Indeed, there has been record setting film and television production in recent years, much of it supported by companies such as Netflix. CRTC chair Ian Scott last year said that Netflix is “probably the biggest single contributor to the [Canadian] production sector today.” While that is not entirely true – the data suggests that Canadian taxpayers are the biggest contributor with federal and provincial tax credits consistently the largest source of financing – the claim that there is a billion dollar deficit coming or that foreign streamers do not contribute to film and television production in Canada without a regulatory requirement is simply false.

September 30, 2020

“The culture war is the ‘New Normal'”

Filed under: Books, Britain, Media, Politics, USA — Tags: , , , , — Nicholas @ 05:00

Andrew Doyle discusses the debate over the culture war in Spiked:

The phrase that probably best characterises the events of 2020 is the “New Normal”. Although it’s typically used to describe our changed circumstances under lockdown, it could just as easily be applied to the way in which we have all grown accustomed to the worst excesses of the social-justice revolution.

News stories that only five years ago would have been dismissed as asinine aberrations now recur with a quotidian certainty. Recent notable examples include: Princeton University confessing to “systemic racism”, leading to an investigation by the Department of Education on the grounds that racism is a violation of civil-rights law; the Royal Academy of Dramatic Arts making a similar admission, thereby emboldening some of its students to produce a 100-page document full of demands so entitled that it would make Veruca Salt blush; and an academic and novelist stating that debate is “an imperialist capitalist white supremacist cis-heteropatriarchal technique that transforms a potential exchange of knowledge into a tool of exclusion and oppression”. Yes, the culture war is the “New Normal”.

Yet with all the evidence before our eyes, certain commentators persist with their view that the culture war is a right-wing myth advanced by those who are resistant to change. “There’s no actual ‘culture war’, is there?”, writes LBC’s James O’Brien: “It’s just a new way of describing disagreements between people who hate racism and discrimination and people who love it.” Then there is the Guardian‘s Owen Jones, who maintains that “a lot of what’s called ‘the culture war’ is just younger people trying to assert their different social and moral values over older generations who run most of the media”. Nesrine Malik has argued that the culture war has been manufactured by the right, although it will not have escaped most people’s attention that the majority of salvos come from the left side of the battlefield.

It’s this kind of gaslighting – to borrow the language of social-justice activists – that we have already seen from writers who insist that “cancel culture” doesn’t exist, in spite of abundant and incontrovertible evidence that it does.

This is because, as Helen Pluckrose and James Lindsay have so clearly outlined in their seminal book Cynical Theories, the ideology of social justice has its origins in postmodernism, a school of thought which favours “lived experience” and multiple “ways of knowing” over objective truth. It doesn’t matter, for instance, that JK Rowling has never said or written anything transphobic — her new novel must be denounced for advancing an anti-trans agenda, even though it contains no actual references to trans people. These activists have apparently taken their cues from Humpty Dumpty in Lewis Carroll’s Through the Looking Glass (1871). “When I use a word”, he says to Alice, “it means just what I choose it to mean – neither more nor less”.

America First – Patriots or Nazis? – WW2 Special

Filed under: History, Media, Politics, USA — Tags: , , , , — Nicholas @ 04:00

World War Two
Published 29 Sep 2020

In 1941, the question of whether America should join the European War still isn’t settled. Different groups whip up opposition to it, and those such as the America First Committee seem suspiciously sympathetic to Hitler’s message and cause.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory
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Follow 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/WW2sources

Hosted by: Indy Neidell
Written by: Francis van Berkel and Indy Neidell
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: James Newman
Edited by: Miki Cackowski
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)

Colorizations by:
Daniel Weiss
Norman Stewart – https://oldtimesincolor.blogspot.com/

Sources:
from the Noun Project: people by ProSymbols

Soundtracks from the Epidemic Sound:
Reynard Seidel – “Deflection”
Johannes Bornlof – “The Inspector 4”
Philip Ayers – “Trapped in a Maze”
Johannes Bornlof – “Deviation In Time”
Phoenix Tail – “At the Front”

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

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

September 29, 2020

Modern Classics Summarized: 1984

Overly Sarcastic Productions
Published 24 Feb 2017

It’s the mother of all dystopias! Long before YA dystopia rose to power, before the age of Young Attractive Heroes who Rebel Against The State and Also Find Love, there was just Winston Smith — a middle-aged man in poor health who Rebelled Against The State and Also Found Love. It just ended much less prettily for him.

1984 codified most of the modern dystopia tropes — absolute control of the media, black-bagging people who spoke out, and a lot of popular terms like “doublethink”, “big brother”, and “thought police”. Unfortunately, a lot of those terms got stripped of context and thrown around for the sake of Extra Edge, and as a result they get used a little haphazardly. And there’s nothing Red hates more than misused terminology, so here’s the video outlining the ORIGINAL meaning of 1984!

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