The centralized controllers are willing to lose money, because art is a propaganda expense

bye-bye-ghostbusters-2016-the-game

Profit$ are chump change.

The people who control our Brave New World Order are the shareholders of the multi-national corporations that control almost everything bought and sold in the world today. These are they that call all the shots. And one of the primary corporations that they control is the Central Usury Cartel that controls the central banking systems in most of the world.

In other words, all the fabulously wealthy elites that own the shares in all the corporations (only 147 entities control nearly 40 percent of all of monetary value of transnational corporations in the world,) could give a shit about making “Profits.” Profits is an idea for the proles to consume themselves with so that we don’t notice the ever increasing and burdensome controls being implemented in a gradual but escalating pace.

They have usurped and deceived we the sheeple into accepting the take over of our economies, governments and institutions through their fiat usury schemes aka “money creation” power. In other words, do you really think T.H.E.Y. give a shit about profit, when these are they who have the power to create as much “money” as they need at any time? Profit$ are for pikers. The real prize is control…total population control. With their power to “print” as much money as they’d like, they use it quite liberally to achieve this goal of total population control.

Wonder no more at the propaganda studio lots seeking to Poz the world with Californication and Celebridolatry, churning out infotainment programming with social justice themes and narratives that consistently lose money hand over fist.

The producers in charge of a never ending stream of box office bombs, tell-a-vision series cancellations, print media circulation drops and downsized publishing houses haven’t made genuine profits in a decade or more.. They don’t need to nor do they seem to really even want to. Their primary function is not to make profits, but to manufacture consensus, control the narrative and pacify the populace to get we the sheeple to fall in line and to think and behave how they want us to.

http://hawaiianlibertarian.blogspot.tw/2017/01/the-pretense-of-profit-motive.html

It is interesting that the picture above shows that the game-version females are very cute and no older than 25, whereas the movie actresses all looked considerably older than 30.

However, video games kind of suck.

To play a game nowadays, you basically have three public choices (and one private choice).

One, you can surrender to a console maker like SONY and pay through the nose to give up your freedom.

Two, you can surrender to Microsoft and keep spending money on their spyware OS every year, plus all your information goes to them. (You will also be subsidizing overpriced companies who give you a CD or underpriced companies like Steam who invade your privacy.)

Three, you can run Linux and content yourself with a very small selection of games. (And you might lose your privacy to Steam.)

Four, you can run Windows (either 7 or a pirated 10) and pirate games. This won’t necessarily preserve your privacy for long, but for the moment, it will allow you to test-run the new AAA games before deciding that they are not very fun.

What we need is a new gaming platform that respects privacy and allows game makers to produce for a decent profit. Some people are trying to build such a system, but we don’t have it yet.

guybrush-and-elane-never-pay-more-than-20-bucks-for-a-computer-game

Drinking from the firehose of notifications, I can barely figure out how to post, much less figure out who is subscribed

Post theme, courtesy of Steve Sailer:

I don’t know that WordPress is an American product, but it’s certainly a typical manifestation of globalized Americanism- fast food, distracting TV, and push-button convenience!

I am not some kind of noble ascetic or wise philosopher who can stand above this.

I am subscribed to a lot of blogs through WordPress. Presumably notifications are being sent to an email somewhere. I don’t know. Generally when I see something interesting, I try to blog it as soon as I can, so that I don’t forget that it interested me.

So if you follow this blog, don’t worry about subscribing automatically. Comment if you like. I might even notice in a week or two, depending on whether my attention-deficit is acting up.

Baloo wrote:

If you’ve noticed that I unsubscribed, it’s just because I want to clear my email out and I check this site daily anyway.

No prob. Read freely, or wander away to do something more
–hey, look a squirrel

How the Action Girl trope was spawned (in films) over the course of the 1970s and finally crashed into meta-fiction

Long before World War II, Wilma Deering was a fictitious Action Girl, beloved by (some) early feminists. For many years, however, she was a rare exception to the rule.

Update:

Baloo comments:

Also, Annie Oakley, back in the fifties, and, of course Emma Peel🙂

My horizons have been broadened. I had no idea that female martial artists had been so popular.

I think Baloo could contribute to a lengthy preface: “The Lost History of Action Girls Between Wilma Deering and Barbarella.”

diana-rigg-emma-peel


1968 – Jane Fonda played Barbarella – a space-faring action heroine who could do just about anything that a male hero could have done. Barbarella originated with an excellent comic book, and the movie was somewhat more crude, but noteworthy. Certainly Jane Fonda portrayed a courageous, risk-taking heroine who used PHYSICAL ACTION, not politics, not emotional wiles, not subtle magical curses. The film did not attain cult status until the 1970s. I don’t recall her killing anyone or anything.

Perhaps most importantly, the movie version of Barbarella was a heroic story, not a big-budget action extravaganza.

1974 – Zardoz features Charlotte Rampling as a defiant, almost masculine feminist Melting Ice Princess who resists Sean Connery’s advances (for a long time, but not for the whole movie). She is definitely strong-willed and direct in her tactics (unlike the much more charming freckled girl, who tries to use traditionally feminine and indirect methods).

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1979 – Alien featured Ripley, a seriously no-nonsense survivor. She is not a gung-ho ass-kicker in the first movie, just a survivor, but she survives challenges much more daunting than anything Barbarella ever had to face.

By the time the 1980s dawned, the Action Girl trope was ready to launch into a world of high-budget action movies. Unfortunately, as budgets grew and production values became slicker, story (and character development) was sacrificed.

1981 –
Continue reading How the Action Girl trope was spawned (in films) over the course of the 1970s and finally crashed into meta-fiction

The actual song doesn’t start until 5 minutes into the track. The first five minutes sound like the band is warming up and trying to remember what music is.

orbital3
The actual song doesn’t start until 5 minutes into the track. The first five minutes of the rack sound like the band is warming up and trying to remember what music is.

The musicians apparently fell asleep and left the loops running at the 13-minute mark. Then at 14 min 15 sec they snore themselves awake and try to make something danceable. For a whole four minutes. After that the musicians nod to the producer, and he remixes the hell out of whatever sounds he finds sitting around his hard drive.

I wouldn’t object if the title of the track were: “Here are a bunch of four-minute-long songs, in a variety of styles.”

But the title is “Orbital HALO Drop Over Caracas.”

It has nothing to do with violence, or military organization, or pride in any group that has any chance of doing an orbital HALO assault on Caracas. Each of the separate songs stands or falls on its own merits, and some are decent, but they don’t come together to form any kind of story or image. The Ring of the Nibelungen, it isn’t.

All of the existing “wave” labels were not NICHE enough, so this is “NRXWave.”

NRxWave Evolution 1: Orbital HALO Jump Over Caracas

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