“John Brennan on Thursday recalled being asked a standard question for a top security clearance at his early CIA lie detector test: Have you ever worked with or for a group that was dedicated to overthrowing the US?”
It is getting taken down using methods suspiciously-similar to those used by the CIA in their regime change activities around the world.
Iran, Guatemala, Indonesia, Chile…
You know their work.
But this time it’s different.
Just as the American intelligence community was weaponized by President Barack Obama against Presidential candidate (and President-Elect) Donald Trump, so is the Deep State (chockfull of former CIA officers) now attempting to bring down the United States to save their asses.
Does China have any reason to attempt to totally destroy the United States AT THIS TIME?
No. [but they are a part of (willing accomplice to) the takedown]
Does Russia have any reason to attempt to totally destroy the United States AT THIS TIME?
Is there any intelligence organization in the world capable of orchestrating the total war to which the United States has been subjected over the past three months?
Only China and Russia.
And perhaps Israel.
But Israel has absolutely no reason to attempt to depose their greatest ally (Donald Trump).
Iran does not have the capability or sophistication.
Nor does North Korea.
[and North Korea, even if they had the capability (which they do not), has no reason to run a regime change campaign against the most formidable counterintelligence apparatus in the world AT THIS TIME]
And so that leaves us but one “country”: a country within a country.
The American (Globalist) Deep State.
It is almost synonymous with the CIA.
And the CIA’s methods and signatures are all over the multi-pronged onslaught we have witnessed these past months.
It’s not necessary at this time to point out the biggest players.
The Clintons? Yes.
Bill Gates? Yes.
What is most important is to locate the quarterback.
And that man is (in my opinion) none other than former Director of the CIA John Brennan.
There are other traitors involved.
But let’s outline the structure of what we have endured:
Biological Warfare–Here, China sacrificed one of its own cities [Wuhan] to create plausible deniability that they were in any way waging offensive BIOWAR. As China miraculously shielded the rest of ITS country from COVID-19, they made sure the virus made it (in droves) to the homeland of their arch nemesis: the USA
Economic Warfare–Here, the Deep State (with a giddy China looking on) watched as the U.S. economy ground to a halt because of COVID-19. Record unemployment. All economic activity ceased. The greatest economy on Earth was ruined (for the time being). Each U.S. citizen received a pittance of $1,200 which has not been enough to really sustain anyone.
Psychological Warfare–The masses of Americans were told to stay home. They were cooped up in their houses for two months. They had nothing to do. No place to go. Underlying depressions and anxieties were exponentially amplified. The populace grew frustrated. Most of all, the PANIC was conveyed daily by news organizations with heavy connections to the CIA and Democratic Party. This propaganda terrorized the populace into being afraid to leave their homes–being afraid even to breathe.
Divide and Conquer–Whether the death of George Floyd was a real or synthetic (staged) event, the news coverage would have been the same. In terms of planning, it is likely that the event never took place at all. But for the sake of argument, let’s assume for a moment that a man named George Floyd actually did die as a result of an incompetent and cruel police officer. Magically, the big bogeyman (COVID-19) WAS COMPLETELY FORGOTTEN. All of a sudden, the pent-up rage and frustration and poverty (see #3 and #2) were activated. This is the “match in a tinderbox” scenario. After two months of wall-to-wall coverage of the coronavirus (which ostensibly killed 100,000 Americans by Memorial Day), ALL OF A SUDDEN…THE LIFE OF ONE MAN (george floyd) has become more important than the lives of the 100,000 coronavirus victims (assuming that death toll is accurate [which it is not…it is grossly-inflated]).
So what we have here is a VERY SOPHISTICATED campaign designed to remove Donald Trump from the Presidency. Worst case scenario (for the Deep State), it is supposed to prevent him from being reelected.
It is also a last-ditch effort to save the asses of those Deep State members whose treason has been pinpointed and for whom justice may not be far off:
-James Baker [FBI]
It is my guess that these will be the first pawns to fall.
John Brennan is very important.
More than a pawn (in some ways).
But still a pawn.
How deep will this go?
So much depends on each move in this chess game.
Which brings us to Boogie Nights.
There’s a riot goin’ on.
Each of us has a gift.
Heather Graham is great here.
Mark Wahlberg does a really nice job.
We get the Corvette.
Symbol of summer.
Porn with “plots”.
An admirable pursuit.
Burt Reynolds is really phenomenal in this film.
But like Lovelace, this tale of sexual freedom gets darker and darker as it goes along.
You got the touch.
Feel, feel, feel, feel my heat.
Darker and darker.
But very real.
There is a great realism to certain scenes here.
Paul Thomas Anderson really does an amazing job with this one.
Even the usually-vapid Julianne Moore has some actual moments of artful acting herein.
They’re taking her children away.
Black people can like country music.
Definitely a bit of Tarantino in the donut shop scene.
But Anderson is a far superior director to QT.
QT is very talented, but very overrated.
Lots of hype…very little timeless filmmaking.
Anderson is a much more solid auteur.
There is something of Aronofsky here too.
Funny thing is, Anderson got there first.
But Requiem for a Dream goes MUCH DEEPER into drug darkness.
And yet, Anderson paints a portrait of a period of time.
And the colors are washed out.
The soul-eating burn of cocaine is depicted as it really is: torrid.
How many more nights will the “divide and conquer” boogie?
10th Mountain Division.
The United States is under attack…mainly from within.
China played a small (though not insignificant) role.
The main culprits are liberal globalists.
A second wave of coronavirus will hit the U.S.
This will happen as a result of the fake-news media pushing the narrative that one man’s death (george floyd) is more important than 100,000 ostensible fatalities.
The CIA/liberal media is distracting the country from being vigilant about hand washing, social distancing, etc.
They told Beethoven it was a horrible way to begin his 5th Symphony.
With a rest.
Only the players see it.
Only the conductor pays it much mind.
So the first “note” (beat) is silent.
The conductor must give it.
But there are at least two schools of thought on how this is to be done.
First, a conductor might do as they always do and swiftly move their baton downwards to indicate visually that the first (silent) beat is occurring.
The only problem with this is that the symphony players must then abruptly jump onto the very next beat (which is an “upbeat”).
They happen in very quick succession.
The whole orchestra.
And they get one shot.
To come in together.
Like an attack.
[rest] da da da daaaaaaaaaa
[rest] da da da daaaaaaaaaa
The second school of thought is more practical.
It advises that, in this particular situation, a conductor giving a downbeat is not particularly helpful to the orchestra (because no sounds occur on that downbeat).
Therefore, the conductor motions the orchestra that the UPBEAT is happening.
When the baton (or hand(s)) come down, that is the precise time to make noise.
It is not hard to see why this might lead to a more successful outcome.
For the goal is to have the orchestra stick together.
An orchestra of individuals who are a mere microsecond off from one another creates a sound which is generally not highly-valued in Western music (at least not in the performance of Beethoven).
But this STILL leaves a problem.
The conductor of this second school, whose job it is to try and lead his orchestra to a faithful rendition of this masterwork, is thereby IGNORING what Beethoven wrote (or, more precisely, HOW Beethoven wrote it).
Godard comes back more fit and trim in this episode of his greatest work.
1a is probably the nuke.
1b is a psychological warfare manual (perhaps)
2a returns us to kinetic warfare.
More or less.
With some lulls.
But there is genuine artistry within these 26 minutes.
Like a symphony by Beethoven or Bruckner.
The beginning is weighted heavily.
1a = 51 mins. (the longest of all eight parts)
1b = 42 mins. (the second longest “movement” of the bunch)
The entire first section is, therefore (carry the zero), 1 hour and 33 minutes.
That’s the first quarter of this “ring cycle”.
And it is truly operatic.
So now we are into a bit of a scherzo.
Now you can see the influence of television.
The “producers” of this film.
Canal+ (French TV channel)
CNC (part of the French Ministry of Culture [and Godard is Swiss!])
France 3 (a French TV channel)
Gaumont (a French film studio)
La Sept (a defunct French TV channel)
Télévision Suisse Romande (a defunct, French-language Swiss TV network)
Vega Films (Godard’s production company at the time)
Enough time for eight 30-second commercials.
Arriving precisely at a sum total of 30 minutes’ programming.
It’s generous (no doubt owing to the fact that this was educational programming).
If you look at the true running time of an American half-hour sitcom these days, it is roughly 21 minutes of what you want to see.
The other 9 minutes are reserved for at least 18 30-second commercials.
In the tradition of James Joyce.
Which Hitchcock so admired.
…and the Oscar goes to.
Irishmen in France.
The recurring scene from Salò…
Literary history vs. cinematic history.
Godard has a curious frame which reads, “Your breasts are the only shells I love.”
It is a line from the poet Apollinaire.
[tes seins sont les seuls obus que j’aime]
But I must say, the exciting parts here are the “booms”!
The fighter jet exploding in midair.
Bernard Herrmann’s music from Psycho juxtaposed with scenes from Disney’s Snow White…(1937).
The agitation of Stravinsky.
Cluster chords on the piano.
Godard’s voice fed through an Echoplex.
And, just as in 1a, world-class editing!
Let me be clear.
EDITING is what makes Histoire(s) du cinéma the greatest film ever made.
It’s what makes F for Fake the second-greatest film ever made.
And what makes Dog Star Man the third-greatest film ever made.
It is more pronounced in Histoire(s) and Dog Star Man.
Orson Welles’ “editing” (montage) in F for Fake is done more at the story level.
It is a juxtaposition of content.
The Kuleshov effect with ideas rather than images.
[more or less]
Godard’s camera-pen makes some of its boldest strokes in this episode.
It rivals the 1a excerpt involving Irving Thalberg.
Which brings us to a very important point.
Godard CHOSE to use the concept of “double exposure” (two images–one on top of the other–but both seen to a greater or lesser extent) to ILLUSTRATE the subject and title of his greatest film.
Though it runs 266 minutes, that amount of time STILL wasn’t enough in which to lay out the history of cinema.
So images needed to be doubled up.
Simultaneous to that, words needed to be spoken.
And furthermore, DIFFERENT words than those being spoken NEEDED TO BE WRITTEN ON THE SCREEN.
If you are not a native French speaker, you will probably need to have the subtitles on when viewing this film.
Which gives you A-N-O-T-H-E-R visual stimulus which must be taken into account.
This film should be mandatory viewing for fighter pilots.
Practice your OODA loop here.
If you want to survive in this jungle of meaning.
Night of the hunter…
It’s all true.
That weary look.
It’s all true.
Which brings us to value (that thing which capitalism so gloriously creates…far more efficiently and in much greater abundance than with any other economic system).
“What is the value of knowing how to read this film,” you ask?
It allows you to know how to read the complexity of the world.
It is a brain teaser.
With an infinite layering of meaning.
Like Finnegans Wake.
Joyce’s masterpiece should be the only required reading for a codebreaker.
Or a codemaker.
Take heed, National Security Agency.
Your curriculum needs adjusting.
Assign only Finnegan.
And reap your gains.
And what of Histoire(s)?
Its most direct application would be for analysts.
Whether they be Federal Bureau of Investigation, Central Intelligence Agency, or INSCOM.
Know how to read the image.
Know how to analyze the video.
You must think outside the box.
Sudoku the fuck out of your employees.
And thereby fight crime and keep hostile actors in check.
Which is where we musicians come in.
To analyze the phone call.
To make sense of the audio…from the video.
It cannot be taught in a bootcamp.
It has to be loved.
If you had one analyst like Godard, you would have a super-soldier equal to an entire special forces unit.
The trial of Joan of Arc.
Not to be confused with her passion.
Laurel and Hardy.
The Philadelphia Museum of Art.
Which brings us to a very delicate situation.
What is the President planning this weekend?
And with whom is he planning it?
If Ronald Reagan was an actor (and he was), then how much more talented is Donald Trump in getting a reaction with his lines…and his gestures?
A President who has been attacked from ALL sides UNRELENTINGLY for nearly four years.
And now finds himself in the midst of the hottest biological/psychological/economic war in recorded history.
Where complexity reigns.
As globalization magnifies each twitch of activity.
And this same President STILL finds himself under attack from the same “bad actors” who have unremittingly assailed him.
It indeed follows the train of thought I delineated above.
You will see the Henry Miller quote (an author I deeply admire).
But then you will see a perversion far beyond (to my knowledge) anything Henry Miller ever wrote about.
What you see on the Cannibal Club website appears to be a restaurant which serves human flesh.
However, with a bit of research, I came to the conclusion that this particular institution (as it is presented) is likely fake.
The names of the principals all come back empty. None of them have a digital footprint that I can find. Sophie Lafitte. Elspeth Blake. Hero Conners. Raven Chan.
The photo of Cannibal Club’s proprietress, Elspeth Blake, was first cached as a stock photo in 2012.
The photo of Raven Chan also was first cached (before it was used on the Cannibal Club website) as a stock photo. Both photos appear to have originated on the website istockphoto.com . They are generic pictures.
The Cannibal Club website went live with content in 2009. Neither the menu, nor the “events” have changed.
My conclusion was that this was a joke made by demented, artsy liberals in order to seed panic in America’s conservative population.
That was my hypothesis: it is almost certainly a sick joke.
But here’s the rub…
Things like this very well may exist.
Indeed, they probably do.
And thereby we come to the film Lost River.
It came out a mere two years before Trump was elected.
Before Harvey Weinstein was convicted of sex crimes and sent to prison (where, last I heard, he had coronavirus).
Before jet-setter Jeffrey Epstein “hung himself” in a Manhattan jail cell.
You know, Epstein…the guy who flew Bill Clinton and Kevin Spacey to Africa.
All this was before Kevin Spacey had numerous sex crime charges brought against him.
And two of his accusers recently dropped dead (over the past year) bringing both cases to a halt.
I appreciate the style.
Very heavy on the David Lynch (with a modicum of Harmony Korine thrown in).
The focus on “place” is very similar to the technique David Lynch and Mark Frost used to ground the town of Twin Peaks in the TV series of the same name.
In the woods.
And in secret clubs.
Director Ryan Gosling did a pretty good job with this film.
We will forgive him for lifting the ambiance of that Orbison scene from Mulholland Dr. to repurpose it in his Lost River blood-and-guts cabaret.
Because the reason I watched this film at all was for Christina Hendricks.
She has the potential to join a modern pantheon which, at this time, includes only Thora Birch and Kat Dennings.
Though we are never told this in the film, it is set in Detroit.
And that makes sense.
Deserted neighborhoods with crumbling houses.
But it could be anywhere in America if China’s economic warfare (COVID-19) is not soon countered.
Matt Smith does a good job as Bully: the embodiment of serial-killer animalism.
The cartel head.
Gosling did a great job location scouting for the zoo scene.
The abandoned zoo.
Very much like the film Hanna and its scenes in the abandoned Spreepark of East Berlin.
Ben Mendelsohn is a fucker.
Such a prick.
He’s not an animal like Bully, though he has rage inside him.
He is more of a predator.
And he is much more powerful.
His character, Dave, is a banker.
And Dave tells us, during the course of the film, that he sets up a little “club” in each of the towns he goes to.
Seems Dave gets moved around a lot.
Gets the books on a firmer footing.
And moves on to the next town where he can oblige the poor and demented with a bit of blood lust with his clubs.
Lots of blood.
Lots of lust.
Dave overlaps nicely onto the persona of Harvey Weinstein.
Christina Hendricks is immediately propositioned by the bank manager.
Dave is a thoroughly-unscrupulous scumbag.
Hendricks just wants to hang on to her home…dilapidated though it may be.
Saoirse Ronan does a nice job in a relatively-minor role here.
She glitters occasionally…as she plays her Casio on her bed with sparkly finger polish.
Whispering out a little song.
Or as she tucks in her pet rat for the night.
But it is not the ginger Ronan we are used to.
Her hair is black.
To fit with the landscape.
And to let Hendricks (also a redhead) stand out as the star.
Saoirse is the “girl next door”…literally.
In the tradition of American Beauty.
By this method we can trace Gosling’s influences.
The overarching one is David Lynch.
This film is creepy.
Much of the creepiness comes from the casting.
It really is an amalgam of Lynch’s freaks with Harmony Korine’s amateurs.
There is the grief of the mute grandmother.
Caught in a loop of family films.
Mourning her late-husband who died tragically.
It is sad.
The inability to talk for some time after a shock.
The family films are sad.
Watching how they used to be.
The way they were.
And the grandmother still a widow…with a fishnet veil for mourning.
There is some rubbish in this movie.
Kind of how the second season of Twin Peaks went off the rails.
Eva Mendes is good here.
In the basement is something very Ex Machina (also 2014).
And even more so John Cale’s Vintage Violence.
Apparently, customers can come down and “murder” real people in these shells.
The shells are of a hard, clear plastic.
The shells supposedly prevent any real bodily harm.
But we never really see them in action.
Iain De Caestecker is pretty good here.
There is a realness in the urgency of his running.
Gosling’s editing crystalizes this.
Running for love.
Running to save.
To set off running.
Unprepared for how long the journey really is.
Something special here.
Good vs. evil.
To be selfish.
To ignore the needs of others.
To follow the voice of God.
To follow the instruction of the Holy Spirit.
To be humble before God.
To fear God.
To feel evil all around.
When it comes, and when it goes.
But the most quizzical scene is when Christina Hendricks cuts her own face off (in simulation, of course) in exactly the way we have heard about in the infamous, rumored Frazzledrip video.
Two years before such a thing came to light.
What a strange coincidence.
Let us synthesize more.
Could there be clubs (in L.A., for instance) where children have their faces cut off (for real) in front of an audience of sickos?
Further question, how does Hollywood (in L.A.) have the “imagination” to write these sorts of scenes?
Sure, there’s the old French film Eyes Without a Face.
But that was cosmetic.
It wasn’t for the thrill of spectators.
It was a medical procedure gone wrong.
Gory as it was, it was to SAVE the face of his daughter that the misguided doctor went on a hunt for faces.
Here, the faces are potlatched (apparently).
But again, this is just a “cabaret”, we are told.
We see behind the scenes.
So where is the truth in these “jokes”?
What kinds of personalities find humor in this?
John Podesta famously jokes about cannibalism in Time magazine and elsewhere.
He jokes about the cannibalistic Donner party.
He had cannibal art hanging on his office wall (a loan from his art-collector-brother Tony Podesta).
Strange fixation, that.
Verging on Silence of the Lambs.
Really vile stuff.
This is an interesting movie.
Gosling has talent as a director.
He should make more films.
This was his debut.
He has directed nothing sense.
My only quibble is this: Christina Hendricks was so misused here.
Saoirse Ronan was almost equally misused.
Gosling needs to watch more Godard.
You don’t cast Grace Kelly only to have her wear the same sweater for the whole film.