4:3:22

Mark Crispin Miller on the narcissism of the 2022 Oscars, Pfizer's and BioNTech's sponsorship, the ceremony's many misdirections around vaccine-induced deaths, and how this year's Oscar's commercials and advertisements, "all seemed to be pushing AI, etc." Not to mention all the strange Illuminati-style triangle stage sets at this year's show. The Illuminati love their creepy warp tunnels, pyramids, mirrors, and traps.

Read Miller's entire post here

Biden is planning a new digital currency

We must resist this.

Glenn Greenwald: "Corporate journalists have license to use their huge platforms to malign, expose and destroy anyone they want. Your moral duty: sit in respectful silence and never object."

Greenwald's full post here


I'm A Sorry Liberal App

I love the way Stewart Copeland's 8mm footage in his documentary flies past you. The keyhole lens, the way he layers the audio, the music is the narration not the usual talking heads. The movie is more like a stopwatch--a sped up raw chronology instead of a review or carefully constructed biography of a band. He doesn't try to contextualize the scenes or organize them politely. The movie rewinds and fast forwards at the same the same time. It's frenetic like Copeland and his drumming style. The incredible speed and intensity with which The Police performed, especially early on, is punk rock and largely Copeland's influence and playing style. Amphetimized. Stewart rushes, even when he is speaking. To this day. He hasn't really calmed down. As a band member of a trio, he says he often felt like "a dick with nothing to do." Sting was bossy and controlling. Given that Copeland set the tempo and energy, it's funny that he felt underused and unappreciated. In the concert footage, Stewart's legs are long and sinewy. The elfin Andy Summers was always incredibly funny. The clown of the band. And Sting had at times a thuggish temper. But when a solo Sting told an interviewer in 1988, "I always try to find a metaphor first. It's no good just saying, 'Pinochet is a bad man.' There's nothing artistic about that, or particularly powerful," he is addressing what I always write about on this blog, which is the reduction of art and the demoralization of culture into pure ideology, which is what we're seeing in every domain today. Art used to be a creative strategy and important form of sublimation. That is, art and thinking itself were creative forms for wrestling with the resistance of falling prey to ideology. It allowed one to transcend one's baser nature and it also required nuance. Protest always needs the right metaphor. Art is making sure ideas do not fall prey to sanctimony and authoritarianism. It seeks to serve the people rather than control them. It destroys cliches and scripts. Sting: "I'm trying to that everyone is involved in the future of this world. But I don't preach." (Although he's preaching now, with his recent "Free Ukraine" concert. Again, see how people change? How this new world has changed people. Bled them dry.). The metaphor can be form, as I wrote in my essay about Bresson in Picture Cycle. "The right form; the right form for a particular problem, situation or idea; the right form for a particular artist — is Bresson’s subject and substance (The jury is still out on whether this can simply be called style, as style is both affected and deeply personal). Careful calibration of form in Bresson is also a way through suffering and injustice. Working out a form (working anything out) is one of the ways in which style becomes both spiritual and political in Bresson’s work."

I think I like watching old footage so much because more than anything I am interested in people. What happens to people.