Archive for 2023

OPEN THREAD: Ring out the weekend.

MISSED IT BY THAT MUCH: Indy police arrest ‘terrorist’ for purposely driving her car into home used by hate group.

Ruba Almaghtheh, 34, was arrested on a preliminary charge of intimidation which is a level 5 felony if the threat is to commit terrorism.

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Almaghtheh told officers she was watching news coverage of the Israel-Hamas war on television and decided to plan an attack on the building because she was offended by the “Hebrew Israelite” symbol on the front of the building.

The Anti-Defamation League defines the Israelite School of Universal and Practical Knowledge as an “extreme and antisemitic” sect of the Black Hebrew Israelites. The Southern Poverty Law Center has designated the Black Hebrew Israelites as a hate group.

Related: Black Hebrew Israelites Fight Pro-Palestinian Protestors in Chicago Streets.

GUT UND HART, DEUTSCHLAND: After migrant parent pressure, Anne Frank daycare center to be renamed.

Parents in Saxony-Anhalt German State promoted the decision to rename the “Anne Frank” daycare center in Tangerhütte, a small town in the state, according to reports in German media.

The move was driven by parents who found it difficult to explain Frank’s significance to their children. According to Apollo News, a German news site, in a small town in Saxony-Anhalt, a daycare center has become the center of a local scandal.

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The BILD newspaper added “Ultimately, the parents and employees wanted a name that was more ‘child-friendly’ and ‘better suited to their concept.’ Their needs are more important than the global political situation.”

The daycare center has been called Anne Frank since 1970. “Now parents want to rename it to ‘World Explorers’,” BILD said.

According to the report,  Frank no longer aligned with the “new focus on diversity.” Brohm stated that the desires of many parents to rename the daycare center held more weight than the global political situation.

Related: Can’t Imagine Why: Majority of Germans Now Completely Over Muslim Immigration.

AS LONG AS IT’S AGAINST THE JEWS: Genocide Is Popular. “Yesterday, many thousands of Islamofascists and leftists turned out across the globe for pro-Hamas demonstrations, celebrating the massacre of October 7 and demanding the extermination of Jews. Trafalgar Square was packed to overflowing.”

LOL:

They’re gonna hate the new rules that they made.

THE OBAMA MACHINE SENDS A SIGNAL TO JOE BIDEN:

ROGER KIMBALL: This Time Israel Will Finish The Job.

The other chief reason that this grisly event may inspire gratitude alongside revulsion is that it seems to have shaken the world awake, disrupting the pathetic radical-chic infatuation with this species of violent, anti-Western guilt mongering. Yes, Western colleges and universities, especially the richest and most pampered of them, are full of anti-Semitic, pro-Palestinian animus. From Harvard to Stanford, from Columbia and Cornell to Georgetown and the University of Pennsylvania, students and faculty are making fools of themselves by mouthing such goads to genocide as “From the River to the Sea, Palestine Will Be Free.”

But these little eructations, along with the carefully coordinated mass rallies in major cities throughout the Western world, conceal an inexorable process of disenchantment. Much publicized has been the withdrawal of financial support by scores of major donors to the university industrial complex. The loss of money may sting at some few campuses. For most, it will be but a rounding error. What will matter much more is the loss of that much more precious form of spiritual currency, legitimacy.

Whatever else it accomplished, the murderous attacks perpetrated by Hamas tore the mask off the “poor, suffering Palestinians” and revealed the entire operation as the bloodthirsty, anti-civilizational impulse we have long known it to be. For that, at least, we must be grateful for this excruciating moment of clarity.

Read the whole thing.

GILES MARTIN ON PRODUCING THE BEATLES’ ‘NOW AND THEN,’ REMIXING THE ‘RED’ AND ‘BLUE’ ALBUMS, AND HOW TECHNOLOGY IS ENABLING A MASS EMOTIONAL EXPERIENCE:

The orchestral scoring session you and Paul did at Capitol Studios in L.A. took place quite a while ago, we know. There’s such a thing as NDAs, but it’s still surprising that that many people could be involved and keep a secret, until Paul himself first spoke about it this spring.

Well, the orchestra didn’t know what they were playing on. They weren’t aware that this was a Beatles recording. I think they thought it was just a Paul McCartney project that I was working with him on. It’s one of those things that I didn’t really think about at the time. I’m thinking about the string arrangement, the players playing the right thing, all that stuff. But they weren’t privy to the information, so they had nothing to hide. A little knowledge is a dangerous thing. Not in this case: A little knowledge actually worked quite well. But it is funny how we finished this last year, and it hasn’t got out.

Speaking of the orchestral part, why did it feel important to do an orchestral part, in the ultimate expansion of John’s demo? Of course great orchestral parts are a big part of your lineage.

Paul came and played me the track he’d been working on, and I said, “Maybe we should add some strings to it.” He was like, “Well, yeah, we should try it, but I don’t want to make it too corny.” Also, I think he was nervous about us collaborating away from the other Beatles, funnily enough. How much do you add without them? I just said to him, “Why don’t we do something, and then we can always delete it? No one will know.” There’s no teams that hear stuff. It was just me and Paul, at that stage — and Ringo, obviously, and then Sean and Yoko and Olivia. It’s a very small network, so therefore you have that freedom to try things.

With the strings, I thought I might as well rip off my dad — which I did do. My dad was an amazing string arranger. If I’m gonna rip off my dad, you might as well do it for the last Beatles song. There were some times where Paul was like, “We shouldn’t do that, you’re going a bit too far, or “We should try and do this.” Because, even with my dad, even with “Yesterday,” the first string thing (with the Beatles), Paul would have very, very strong ideas about how you want things to sound. And generally, obviously, it’s the Beatles — he’s right. I’m pleased we added the strings. I just wanted it to be as Beatles as possible, basically. I wanted people to listen to this and go, “Yeah, this is a Beatles record.”

The songwriting didn’t seem quite complete in the demo John did that many people have heard. They would say it starts off strong and then loses something along the way. Compositonally, was it Paul’s job to bring it across the finish line?

Completely Paul’s job, as it should be. He wanted to finish this track, and his collaboration with John is, let’s face it, the most successful songwriting collaboration of all time. … What’s interesting is: Someone said, “Paul didn’t really write a middle-eight to it.” And I said, well, he put the guitar solo in [where a bridge might go] as a tribute to George, really. There’s no point in Paul writing a middle section just for the sake of it, so he could write a middle section, which he could have done easily. So that was purely down to him.

I’ll admit that the finished song has a haunting quality to it, thanks to the strings, McCartney’s Harrison-esque slide guitar work, and the nostalgia of hearing John Lennon singing again. Ultimately though, it’s a wisp of a Lennon demo that McCartney and Giles Martin threw the kitchen sink of audio restoration, production and arranging techniques at.

Given the advanced state of audio restoration, I assume Peter Jackson’s crack team will have a go at separating and restoring Lennon’s vocals from “Free as a Bird” and Real Love” from the mid-1990s Anthology sessions (where work on “Now and Then” began, but the technology didn’t yet exist to separate Lennon’s voice from his piano playing) at some point in the future. Meantime, I’m looking forward to hearing Giles Martin’s remixes of the Beatles’ early songs that Jackson’s team were able to generate fresh multitracks when the Beatles’ 1962-1966 greatest hits collection drops next week.

STILL FAKEY AFTER ALL THESE YEARS:

Behind these malevolent forces lurks a deeper dynamic, the Dictatorship of the Subjunctive Mood (DSM), the rule of unreality. As noted here previously in the cases of Barack “Barry Soetoro” Obama and Ammar Yasser Najjar, this totalitarian dynamic demands that people accept the fakery and deny what their own experience confirms. And so now we add to that roster Buffy Sainte-Marie, who should be paired with Sen. Elizabeth Warren, the fake Cherokee who ran for president. Under the Dictatorship of the Subjunctive Mood, the possibilities are indeed limitless.

Exit question: In a regime supposedly dominated by “white supremacy,” why do so many people want to claim minority identity?

Iron Eyes Cody (Espera Oscar de Corti) would be shedding two tears if he were alive to hear the news about Sainte-Marie being a Pretendian.