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Friday, April 28, 2017


Sunday, March 26, 2017

Jewish Jewish Community Center Bomb Hoax Suspect, Michael Kaydar 


Saturday, February 04, 2017


Unpaid, Twitter Detective in Europe (!) Does the Work that UC Berkeley, UCBPD, the City of Berkeley, and the MSM All Refused to Do, and Tracked Down One of the Berkeley Campus Terrorists! And You’ll Never Believe Who He is! By Nicholas Stix
Terrorism suspect Ian Dabney Miller, who lives in Oakland By Nicholas Stix UC Berkeley officials reacted to the brutal, anarchist riots on campus on Wednesday night, by claiming to know who the rioters were, saying that they were from Oakland, and that no campus people were involved. First of all, if UC officials knew that the thugs were from Oakland, it should have properly prepared for them, mobilized additional help from the Berkeley PD, and made mass arrests. One did not need to be clairvoyant, to know that violent people were coming to shut down the event, a planned speech by flamboyant, “conservative,” political personality Milo Yiannopoulos. (Since Yiannopoulos is an in-your-face homosexual, I chaperoned the term conservative with scare quotes.) The organizers paid an extra $10,000 for security, but got cheated out of their money, when campus security/police and Berkeley police all stood down, and let the thugs riot at will, beating at least one person almost to death in front of countless witnesses. Those security/LEOs were all ordered to stand down, and whoever ordered them to stand down is civilly (and criminally?) liable for the mayhem that ensued. That would include UCB President Janet Napolitano, Berkeley Jesse Arreguin, UC Berkeley Chief of Police Margo Bennett, and Berkeley Interim Chief of Police Andrew Greenwood. There is also a smoking gun tweet by Mayor Arreguin, from before the riot, that can be easily interpreted as inciting violence. (If you hit the tweet, you'll see that the Mayor posted it at 5:01 p.m. Pacific time.) In any event, campus people were among the rioters, including at least one campus employee.

Saturday, September 10, 2016

Immigration Sanity 


Thursday, August 25, 2016

Eric Bolling vs. Cong. Charlie Dent (Fox News Video) 

  Re-posted by Nicholas Stix   August 4, 2016

Monday, April 25, 2016

Dulled by clichés, haunted by hacks, and compelled by debts, the first autobiography of legendary boxer Joe Louis, My Life Story, would seem to deserve its obscurity. Published in 1947 when the aging champ faced a waning career and mounting bills, My Life Story might be dismissed as a facile attempt to exploit his fame in order to raise sorely needed cash. Louis also received "editorial aid" from Chester Washington and Haskell Cohen, two sportswriters whose involvement might cast the value of the boxer's official story into doubt, insofar as they compromise the authenticity of the narrative. Moreover, the book resulting from this collaboration hews closely to the banal conventions of celebrity autobiography, portraying Louis as ordinary and modest, hardworking but lucky. This up-by-the-jockstrap tale of the boxer's rise from poverty to prominence disappointed reviewers in both the mainstream [white] and black press who expected something "that would reveal a little more of the man" (Dulles 36). One reviewer grumbled, "there is hardly a passage that couldn't have been written by a well-informed sports writer assigned to ghost the story of Joe Louis" (My Life Story 99); another complained that My Life Story neglected the boxer's "early years—a portion of Joe's life which might make fresh and interesting reading" (Fay B14); another regretted that the book "falls short of giving an adequate picture of the man who did this fighting" (Martin 15); and yet another panned the book as "trite and unrevealing to the point of inanity" (Lardner 235).


Sunday, April 10, 2016

The God of Movie Music 

 
An undated picture of Richard Wagner, holding movie music prisoner in his left hand   Re-posted by Nicholas Stix   Wagner's Influence on Movie Music By McDuff December 13, 2013 Wagner Tripping Every man or woman in charge of the music of moving picture theater is, consciously or unconsciously, a disciple or follower of Richard Wagner – Stephen Bush, film critic, 1911

Please write music like Wagner, only louder

– Sam Goldwyn to a film composer

If my grandfather were alive today, he would undoubtedly be working in Hollywood

—Wolfgang Wagner (Note: When I mention a film composer in this post, the film listed next to his name is the one–or more–he wrote that is listed among the 25 best film scores of all time, according to a survey by the American Film Institute. More on that below.) There is no area in which Wagner’s musical influence is felt more broadly and deeply than in film music. It was very clear to the early Hollywood moguls, and their film composers, that Wagner’s music was the perfect model for the newly created industry. He is widely credited for developing the musical language that was self-consciously adopted from his works for the movies. For example, the man who is often called “the father of movie music,” Max Steiner1 (King Kong, Gone with the Wind), denied he was the “inventor” and deflected that title to Wagner: “Nonsense. The idea originated with Richard Wagner. Listen to the incidental scoring behind the recitatives in his operas. If Wagner had lived in this century, he would have been the No. 1 film composer.”2  
Max Steiner
  The influential 20th century composer, and teacher of several film composers, Arnold Schoenberg, said that Wagner “bequeathed to us three things: first, rich harmony; second, the short motive with its possibility of adapting the phrase as quickly and often as required to the smallest details of the mood; and third, at the same time, the art of building large-scale structures and the prospect of developing this art still further.”3 All three of these bequests were adopted by film composers, though at the base was usually “the short motive,” a.k.a. leitmotifs – what Wagner called “motifs of memory” – whose purpose is “to represent or symbolize a person, object, place, idea, state of mind, supernatural force or any other ingredient in a dramatic work.”4

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