Nearly everything here has been designed to impugn whatever I say.
Most of you - maybe all of you - go along with that.
It does strike me however that most of you don't really have much of anything to say or add to any discussion.
So it seems that this is just a circle-jerk club and those that are accepted only do so within stringent parameters and of course with vetted pedigrees.
I don't mind you fuckers having an incestuously amplified echo chamber, but although I might agree with the goals originally espoused by this site, I would suggest that those considered to be beyond reproach have already succumbed to the very temptations they claim to criticize.
by Nec_V20 » Tue Feb 10, 2015 4:32 am • [Post 18829]
Tuesday, February 10, 2015
Thursday, December 18, 2014
Angry Atheist Podcast #112 from Walter Ego on Vimeo.
Sunday, May 16, 2010
Dr. David Morrison is the Director of the NASA Lunar Science Institute and Senior Scientist for Astrobiology at the NASA Ames Research Center. He holds a Ph.D. in astronomy from Harvard and is internationally known for his research on small bodies in the solar system, including advocacy for developing plans to defend the Earth from impacts by comets and asteroids.
A Fellow of CSI, he has written extensively on such fringe science topics as Velikovsky, cosmic catastrophes, UFOs, the creation science movement, and most recently the climate crisis caused by global warming. For the past two years he has been the primary scientist critic of the widespread fear that the world will end in 2012, and of the doomsday sleaze artists who use the Internet, blogs, and cable TV to frighten people for profit.
Fora.tv. 59 minutes
Sunday, April 18, 2010
The bombing of April 19, 1995, was the biggest attack on American soil before 9/11, killing 168 people, including 19 children. The programm talks to conspiracy theorists who claim that the US government not only had foreknowledge of the attack, they had informants inside the conspiracy who actively encouraged the bombing. The film features revealing interviews with the leading FBI investigators in the case, one of whom, for the first time, is now calling for the investigation to be re-opened.
Monday, February 15, 2010
Sunday, October 11, 2009
Manufacturing Dissent is a 2007 documentary that asserts that filmmaker and polemicist Michael Moore has used misleading tactics. The documentary exposes what the creators say are Moore's misleading tactics and mimics Moore's style of small documentary makers seeking and badgering their target for an interview to receive answers to their charges. The film was made over the course of two years by Canadians Debbie Melnyk and Rick Caine after they viewed Fahrenheit 9/11, Moore's controversial film that attacked the Bush administration and its policies. Melnyk and Caine have stated that when they first sought to make a film about Moore, they held great admiration for what he had done for the documentary genre and set out to make a biography of him. During the course of their research, they became disenchanted with Moore's tactics. You Tube play list in 10 parts.
Pauline Kael's review of Michael Moore's Roger and Me:
I’ve heard it said that Michael Moore’s muckraking documentary Roger & Me is scathing and Voltairean. I’ve read that Michael Moore is “a satirist of the Reagan period equal in talent to Mencken and [Sinclair] Lewis,” and “an irrepressible new humorist in the tradition of Mark Twain and Artemus Ward.” But the film I saw was shallow and facetious, a piece of gonzo demagoguery that made me feel cheap for laughing.
Roger is Roger Smith, the chairman of General Motors, who, in Moore’s account, closed eleven GM plants in Flint, Michigan, in 1986 (despite big profits), laid off thirty thousand workers, and set up plants in Mexico, where the wage rate was seventy cents an hour. In the film, he’s directly responsible for bringing about the city’s (unconvincingly speedy) deterioration. Flint, GM’s birthplace, is also Michael Moore’s home town, and Moore, a journalist, previously inexperienced in film, set out, with a camera crew, ostensibly to persuade Roger Smith to come to Flint and see the human results of his policies.
This mock mission is the peg that Moore hangs the picture on: he pursues Roger Smith over a span of two and a half years, from February, 1987, to August, 1989. Moore, who directed, produced, and wrote the film, and is its star, has defined his approach: “I knew the theme would be ‘looking for Roger’ and showing what was happening in Flint during this time period.”
What happens is that Moore, a big, shambling joker in windbreaker and baseball cap, narrates his analysis of the ironies and idiocies of what’s going on, and deadpans his way through interviews with an assortment of unlikely people, who are used as stooges, as filler. He asks them broad questions about the high rate of unemployment and the soaring crime rate, and their responses make them look like phonies or stupes; those who try to block his path or duck his queries appear to be flunkies. Low-level GM public-relations people make squirmy, evasive statements; elderly women on a golf course are confused as to what’s wanted of them; visiting entertainers are cheery and optimistic; Miss Michigan, who is about to take part in the Miss America Pageant, tries to look concerned and smiles her prettiest. What does Moore expect? Why are these people being made targets for the audience’s laughter? The camera makes brutal fun of a woman who’s trying to earn money as an Amway color consultant, and it stares blankly at a woman who’s supplementing her government checks by raising rabbits. (For a minute or two, we seem to be watching an Errol Morris movie.) Moore’s final jab is at a woman with a Jewish name, whose job promoting the attractions of the city has been eliminated. He asks her what she’s going to do next. When she says she’s going to Tel Aviv, Moore seems to be drawing the conclusion that the rats are deserting the ship; something distasteful hovers over the closing credits.
Moore is the only one the movie takes straight. (Almost everybody else is a fun-house case.) This standup crusader appears to be the only person in town who’s awake to the destruction of what used to be a thriving community. And we in the audience are expected to identify with his puckish sanity. The way he tells it, the people who run the town are incompetent twerps. (That’s always popular with movie audiences.) He reports that the civic leaders have been thinking about solutions for the decay of the city and have come up with lamebrained fantasy schemes to attract tourism: a Hyatt Regency hotel and convention center; AutoWorld, a theme park; the Water Street Pavilion, a mall. The three projects are actually built; roughly a hundred and fifty million dollars is poured in, and all three are fiascoes.
I had stopped believing what Moore was saying very early; he was just too glib. Later, when he told us about the tourist schemes, I began to feel I was watching a film version of the thirties best-seller A Short Introduction to the History of Human Stupidity, and I began to wonder how so much of what was being reported had actually taken place in the two and a half years of shooting the film. So I wasn’t surprised when I read Harlan Jacobson’s article in the November-December, 1989, Film Comment and learned that Moore had compressed the events of many years and fiddled with the time sequence. For example, the eleven plant closings announced in 1986 were in four states; the thirty thousand jobs were lost in Flint over a period of a dozen years; and the tourist attractions were constructed and failed well before the 1986 shutdowns that they are said to be a response to. Or let’s take a smaller example of Moore at play. We’re told that Ronald Reagan visited the devastated city, and we hear about what we assume
is the President’s response to the crisis. He had a pizza with twelve unemployed workers and advised them to move to Texas; we’re told that during lunch the cash register was lifted from the pizza parlor. That’s good for a few more laughs. But Reagan visited the city in 1980, when he wasn’t yet President--he was a candidate. And the cash register had been taken two days earlier.
Whatever the reasons for the GM shutdowns, the company had a moral and financial responsibility to join with government agencies and the United Automobile Workers in arranging for the laid-off workers to reënter the labor force. Moore doesn’t get into this--at least, not directly. Possibly he thought
that he’d lose the audience’s attention if he did. Maybe he thought that it was implicit in the gimmick of his wanting to show Roger the damage the company has done, but it’s almost perverse of him to pretend that what’s happened is all Roger Smith’s fault, and to tell the story in cartoon form.
The movie is an aw-shucks, cracker-barrel pastiche. In Moore’s jocular pursuit of Roger, he chases gags and improvises his own version of history. He comes on in a give-’em-hell style, but he breaks faith with the audience. The picture is like the work of a slick ad exec. It does something that is humanly very offensive: Roger & Me uses its leftism as a superior attitude. Members of the audience can laugh at ordinary working people and still feel that they’re taking a politically correct position.
The New Yorker 1/08/1990
Saturday, April 12, 2008
Saturday, March 29, 2008
Discovery Channel 59 min. Watch on Google.
This special program of the show "BEST EVIDENCE" was broadcasted August 10th, 2007. It looks at those who claim that jet fuel of ... all » commercial and military aircrafts contain secret experimental additives, such as aluminum oxide, for weather modification purposes.
Wednesday, March 26, 2008
Tuesday, March 25, 2008
Monday, March 24, 2008
Jon Ronson meets with Randy Weaver and daughter Rachel, two surviving members of the Weaver family. The film shows previously unseen archive footage to describe the life of a family who moved to a cabin in Ruby Ridge, Idaho to escape what they saw as the tyrannical elite of international bankers bent on enslaving the world. Ronson also explains how the Weaver family's paranoid conspiracy theories became a self fulfilling tragedy when the American Government killed two of the family members including 14 year old Sam Weaver. Ronson explores the unsympathetic media response to the killings and how this incident might have influenced the siege at Waco, the Oklahoma City bombing and the growth of the America militia movement. Watch on Google.
Sunday, March 23, 2008
First shown on the British television network Channel 4 on April 2001. Watch on Google.
Jon Ronson follows theorist and radio host Alex Jones as he attempts to infiltrate the annual gathering of dignitaries and business leaders (reportedly including George Bush and Henry Kissinger) at Bohemian Grove, California. The film includes footage of attendees dressed in robes and burning an effigy at the foot of a giant stone owl. Jones believes that the ceremony is related to occult secret societies. After the event, Ronson meets comedy actor and fellow attendee Harry Shearer who describes the event as a glorified fraternity party. Shearer largely dismisses Jones's dramatic retelling of the gathering and notes that the music is supplied by The Symphony Orchestra of San Francisco.
Alex Jones’ overwrought (and over long) video account of this weekend can be viewed here. Jon Ronson’s posted his account from his book ‘Them’ on the JREF forum. Philip Weis article on the Bohemian Grove from Spy Magazine, November 1989.
Thursday, March 06, 2008
BBC 1 hr 28 min.
Forty years after President John F. Kennedy was fatally shot on November 22, 1963, over 70 percent of Americans still believe there was a conspiracy to kill him and that the suspected assasin, Lee Harvey Oswald did not act alone. Utilizing modern technology, computer animator
Dale Myers created a digital simulation of the only known film of the murder, a 16 mm home movie taken by Abraham Zapruder, a bystander that filmed the fatal shots. Then Myers matched this digital film to a three dimensional computer model of Dealey Plaza which he created that reconstructs the plaza exactly as it appeared at the time of the murder.
The resulting digital animation allowed Myers to recreate the exact view point from any perspective within the plaza at the moment and finally provide concrete evidence of whether or not Oswald was a long assasin or if an actual conspiracy consisted.
Also examined is new evidence discovered years later on an audio tape from an open police microphone at the scene and other theories that circulated including Communist ties and mob involvement in the assassination.
Tuesday, February 05, 2008
BBC interviewer from ‘The Conspiracy Files’ show explains with some exasperation to Loose Change wunderkind Dylan Avery the meaning of a simile. Dylan seems perplexed even after the explanation. The expression on Dylan’s face is priceless. He obviously has no idea what the BBC guy is talking about.
Saturday, February 02, 2008
On Saturday Aug 25th,... I headed down to Ground Zero for a chat with the truthers. I spent a good hour or so with these folks; some were polite, some were complete punks, and it was difficult at times to not get annoyed at hearing the same claims for the 500th time...
- ► 2007 (46)