America losing interest in SJW “entertainment”

Apparently pedos, minstrels, and whores are of less interest than they used to be:

The CBS telecast is down a steep 21 percent from 2017 in early numbers, potentially spelling an all-time low. Sunday’s Bruno Mars-loving Grammy Awards took a steep ratings spill by the first-available metrics. The show, which ran a bloated three-and-a-half hours, was off an unfortunate 21 percent from 2017 in early numbers. Overnight returns from Nielsen Media give it a 12.7 rating among households — marking its biggest drop since the 2013, the year after the show swelled following the death of Whitney Houston.

I know it’s common for the old to bitch about the music of the young. But the thing is, there are plenty of young people putting out really good music today. They’re just not doing it through the converged corporate pop channel anymore.

Three-quarters of my car music is old. The other quarter is downloaded from Youtube. But this sort of thing will never be on the Grammies, because it isn’t SKWAK-Q featuring Jay-Z lip-syncing to synchronized pelvic thrusts by an unattractive woman with oversized buttocks and an expression that says “something smells really bad in here.”

Frankly, I’m astonished that anyone watches them anymore.

RIP 158

‪The “Little” Guitar Kami of #BABYMETAL ‘s #Kamiband has passed away in the METAL GALAXIES. We hope that he is now with his GUITAR MASTER A.Holdsworth and enjoying an epic guitar session with him. ‬ ‪We are the one‬ ‪Together‬ ‪We’re the only one‬ ‪You are the one‬ ‪Forever‬ ‪#RIP #THEONE ‬

Mikio Fujioka, guitarist for the Japanese metal-pop fusion group Babymetal, has died at the age of 36, according to an official post from the band. Numerous sources including and NME report Fujioka died on Jan. 5 from injuries sustained after falling from an observation deck on Dec. 30, though this has not been confirmed by the band.

Sayonara, Smiley Guy. I don’t know that I’ve ever seen anyone who appeared to enjoy playing the guitar more.

Dame dame dame dame!

To be honest, I wasn’t too into this song at first; I regarded it as being a gimmick somewhat akin to Gimme Chocolate. But after seeing it live, my opinion changed completely, and it now makes total sense as one of their regular closing numbers. Live, it’s impossible not to get caught up in The One when the entire crowd starts jumping on the “Dame!” or to resist the frenetic energy of the Kamis.

It’s a little remarkable to see how the Kamis used to efface themselves in concert, and its good to see that they’re now getting their proper due. They know their job is first and foremost to support the girls, but even Leda now smiles a little at the crowd’s roar when they know a solo is approaching.

An interview with Bono

I wish the media would do more significant interviews of this sort with artists, writers, and politicians. It’s a bit of a swan song for both interviewer and interviewee, and it actually provides genuine insight into the man, who is more interesting than one would have imagined from his public posturings:

Performers are very insecure people. Gavin Friday, his line to me years and years ago was “Insecurity is your best security for a performer.” A performer needs to know what is going on in the room and feel the room, and you don’t feel the room if you are normal, if you’re whole. If you have any great sense of self, you wouldn’t be that vulnerable to either the opinions of others or the love and the applause and the approval of others.

The whole event enriched the album, though – talk about an experience.

But isn’t that great? I thought Experience would be more contemplative, and it has got that side, but the heart of the album is the spunk and the punk and the drive of it. There is a sort of youthfulness about it. A lot of the tempos are up. And it has some of the funniest lines, I think. “Dinosaur wonders why he still walks the Earth.” I mean, I started that line about myself.

Being a dinosaur?

Yeah, of course, but then I started to think about it in terms of what is going on around the world. And I thought, “Gosh, democracy, the thing that I have grown up with all my life . . . that’s what’s really facing an extinction event.”

In an interview that you and I did in 2005, you said this: “Our definition of art is breaking open the breastbone, for sure. Just open-heart surgery. I wish there were an easier way, but people want blood, and I am one of them.”

Life and death and art . . . all of them bloody businesses.

How did your faith get you through all of this?

The person who wrote best about love in the Christian era was Paul of Tarsus, who became Saint Paul. He was a tough fucker. He is a superintellectual guy, but he is fierce and he has, of course, the Damascene experience. He goes off and lives as a tentmaker. He starts to preach, and he writes this ode to love, which everybody knows from his letter to the Corinthians: “Love is patient, love is kind. . . . Love bears all things, love believes all things” – you hear it at a lot of weddings. How do you write these things when you are at your lowest ebb? ‘Cause I didn’t. I didn’t. I didn’t deepen myself. I am looking to somebody like Paul, who was in prison and writing these love letters and thinking, “How does that happen? It is amazing.”

Now, it doesn’t cure him of all, of what he thinks of women or gay people or whatever else, but within his context he has an amazingly transcendent view of love. And I do believe that the darkness is where we learn to see. That is when we see ourselves clearer – when there is no light.

You asked me about my faith. I had a sense of suffocation. I am a singer, and everything I do comes from air. Stamina, it comes from air. And in this process, I felt I was suffocating. That was the most frightening thing that could happen to me because I am in pain. Ask Ali. She said I wouldn’t notice if I had a knife sticking out of my back. I would be like, “Huh, what is that?” But this time last year, I felt very alone and very frightened and not able to speak and not able to even explain my fear because I was kind of . . .

When you felt like you were suffocating?

Yeah. But, you know, people have had so much worse to deal with, so that is another reason not to talk about it. You demean all the people who, you know, never made it through that or couldn’t get health care!

Do you feel like you lucked out?

Lucked out? I am the fucking luckiest man on Earth. I didn’t think that I had a fear of a fast exit. I thought it would be inconvenient ’cause I have a few albums to make and kids to see grow up and this beautiful woman and my friends and all of that. But I was not that guy. And then suddenly you are that guy. And you think, “I don’t want to leave here. There’s so much more to do.” And I’m blessed. Grace and some really clever people got me through, and my faith is strong.

I read the Psalms of David all the time. They are amazing. He is the first bluesman, shouting at God, “Why did this happen to me?” But there’s honesty in that too. . . . And, of course, he looked like Elvis. If you look at Michelangelo’s sculpture, don’t you think David looks like Elvis?

Never forget that you can always learn from those who are intelligent and successful, even when you disagree with them. In fact, you can often learn more important things from those with whom you disagree, simply because their perspective is so fundamentally different than your own.

Europe rising

It may surprise many Americans, but the younger generation of Europeans is not necessarily as inclined to surrender as the Refugees Welcome signs might lead one to believe. You never see the media reporting on events like this… from 2012. This is why it should be no surprise that it is Poland that is leading the nationalist charge against the EU and the globalists. Notice in particular the flags that are being waved; this is exactly how the cultural war against the civic nationalists, melting pottists, and multiculturalists should be fought.

Do you remember when, when the Nazis forced their rule on Poland 
1939 and the allies turned away
From the underground rose a hope of freedom as a whisper
City in despair, but they never lost their faith

Women, men and children fight
They were dying side by side
And the blood they shed upon the streets
Was a sacrifice willingly paid

Warsaw city at war 
Voices from underground, whispers of freedom
1944 help that never came
Calling Warsaw city at war
Voices from underground, whispers of freedom
Rise up and hear the call
History calling to you, ‘Warszawo, walcz!’

Spirit soul and heart
In accordance with the old traditions
1944 still the allies turn away
Fighting street to street
In a time of hope and desperation

They even give brief history lessons in the middle of their concerts. And they know who they are rising up against now.

A coverup at the opera

It appears that (((James Levine)))’s co-ethnics have been protecting the Metropolitan Opera’s abusive homosexual conductor and paying off his victims for decades.

As the Metropolitan Opera reeled from the suspension of its longtime conductor James Levine over sexual misconduct accusations, a fourth man came forward Monday saying that Mr. Levine had sexually abused him decades ago, when the man was a student.

Met officials scrambled to deal with the cascade of accusations, emailing donors to assure them that the Met will be taking “all appropriate actions” — even as the opera house came under sharp criticism for not investigating Mr. Levine after learning in 2016 of a police inquiry into a report of sexual abuse against him.

The Ravinia Festival also announced Monday night that it had “severed all ties” with Mr. Levine, its former music director, who had planned to begin a five-year term as conductor laureate in the summer of 2018. “We are deeply troubled and saddened by the allegations and sympathize with everyone who has been hurt,” the festival said in a statement.

The man who made the new accusations Monday, Albin Ifsich, said he had been abused by Mr. Levine beginning in 1968, when Mr. Ifsich was 20 and attending the Meadow Brook School of Music, a summer program in Michigan where Mr. Levine was a rising star on the faculty. He said that the abuse continued for several years after he joined a tight-knit clique of young musicians who followed Mr. Levine in Cleveland and later New York….

In the email to Met donors, Ann Ziff, the chairwoman of the Met’s board of directors, and Judith-Ann Corrente, its president and chief executive officer, wrote that they had been “deeply disturbed” by the reports about Mr. Levine. A recipient of the email shared it with The Times on Monday night.

“Together with general manager Peter Gelb, we are committed to a complete investigation of the allegations against Mr. Levine, and we would like to assure you and all of the Met’s loyal donors that the company will be taking all appropriate actions,” the two Met officials wrote in the email. “We also want to assure you that we will never lose focus on our artistic mission to continue to deliver performances of the highest artistic level to our audience.”

Some opera lovers and others took to social media to question whether the Met knew about troubling behavior by Mr. Levine and why Mr. Gelb and other leaders did not investigate him before now, given disturbing rumors about his private life that had long circulated in music circles.

Mr. Gelb, in an interview, dismissed rumors circulating online that the Met had reached settlements in the past with the families of abuse victims as untrue.

“Since I’ve been at the Met there has not been a single instance of somebody coming forward to make a complaint, ever, about Levine in recent Met history,” Mr. Gelb said. “And if you talk to the previous general managers about their watches, they say the same.”

“There have been no complaints and no settlements, and this has been verified by the Met’s finance office, our development office,” he said.

Perhaps Mr. Gelb is telling the truth. Or perhaps he is playing semantic games with the word “recent”. Certainly there is contradictory information being spread around Twitter and elsewhere. From the timeline of David Hines‏ @hradzka:

For those who missed it, James Levine — music prodigy, acclaimed conductor, music director 1976–2016; artistic director 1986–2004; music director emeritus 2016–present — had a scandal break involving abuse of a 15yo boy. Except if you had any serious New York classical music scene people on your TL, you saw them *freaking the hell out* because they knew how huge the story was. There were lots and lots and lots and lots of rumors about Levine and boys, but nobody knew anything actionable because nobody knew any victims.

One of the top music execs in the country told me 20 years ago when I asked “it’s all true, there have been millions paid in settlements.” I believed him. Levine has led an extremely sordid life that would have landed anyone else in prison long ago. Because the people who did know were either paid off, or doing the paying off.

One of the great conductors in the world and yet, at some point, he stopped conducting in Europe. Didn’t anyone wonder why? That’s a rare thing. I always assumed it was his health, but a friend with close ties to the industry said earlier tonight on Facebook that he’d heard Levine had actually been banned from visiting England.

That is absolutely true. And it’s not the only place. The shit he did in Munich when he was there. Ernst Rohm level stuff. Basically, there’s no way anybody in a position of power at the Met during his tenure didn’t know, and if the payouts were at “millions of dollars” *twenty years ago…*

So, which is more probable, the decades of rumors are completely false and have no basis in fact or this is yet another example of one (((gentleman))) in a position of power covering for another (((one)))? Ask yourself this question: if the Metropolitan Opera is telling the truth, how is it possible that so many accusers from so long ago have come forward so quickly, and Levine has only been suspended? It appears his (((defenders))) are still trying to protect him, even as they claim that he’s already stepped down, he’s old news, and actually, they aren’t entirely sure to whom you might even be referring.

The cracks in the Pizzagate wall continue to grow. Note that director (((Bryan Singer))) went inexplicably AWOL from his current film project before being fired from it yesterday. The filthy creatures know their lies and their behavior is going to be exposed sooner or later and they are beginning to panic. Given the way in which past hints have turned out to be correct, it appears everyone from Steven Spielberg and George Lucas to Jared Leto, James Franco, and Don Henley will be going down, and that’s just the world of entertainment.

Deal with it, commies

Lefties are deeply upset to discover that their labor is of so little value that they can be literally replaced for nothing:

#LAWeekly fired their staff in favor of unpaid “contributors.” If you are an aspiring writer, and you submit to them, you are insuring it becomes impossible to make a living in this field.
– Jennifer Wright‏

As with music, just because you love something so much that you’d do it for free, doesn’t mean that you don’t deserve to be paid for your hard work that makes other people money.
– Zack Stentz

See, the problem is supply and demand. The labor theory of value is false. There is no intrinsic value in one’s labor that merits automatic compensation. In cases such as this, the value of the channel greatly exceeds the value of the indistinguishable content flowing through it.

We have firsthand experience of this. We have a perfectly functioning store that sells – or as is increasingly the case, sold – ebooks that are superior to the ebooks that Amazon sells. Unlike Amazon, we don’t DRM the epubs sold there, whereas Amazon converts exactly the same epub into a proprietary format that can only be read on a Kindle device or application. The price is exactly the same.

And yet, we sell literally 100 times more books through Amazon because that is how people almost uniformly prefer to buy them. In fact, we have learned that we even do better giving Amazon exclusive distribution rights and permitting them to give books away to its KU subscribers and then compensate us for those who actually read them at about one-half the page rate that would be equivalent to a book sale than we do selling our books on our own store. More than three times better.

Of course, this preference for the dominant channel will sooner or later lead to the usual monopoly-related problems, which is why we will continue to maintain our digital storefront. But as long as the channel is more valuable than the content, content providers will be at risk by those willing to provide cheaper, or even free, substitutes. And the more that content is readily available, the less one is going to be compensated for it.

Steve Keen may have disproved the inescapability of the Law of Supply & Demand, but that doesn’t mean it is never relevant, only that it may not always be applicable to a given situation. But in this particular case, there is clearly more demand for free labor than there is for expensive labor. The writers and musicians affected would be wise to contemplate why their work is so easily replaced by free substitutes; the irony is that the free music available today is often superior in quality to that for which one must pay up front.

Case in point: Erock’s instrumental version of Let It Go is a joyful thing of beauty that surpasses Leo Moracchioli’s very good metal cover, and both of them are far more interesting than the Disney-published version available in the stores. I don’t know that I’ve ever seen a better combination of technical pyrotechnics with staying completely within the melodic framework of a song. Note to aspiring young guitarists: if you want to make an unforgettable impression on the girls in your town, learn to play this.

Grammys So Black

Strangely, no one is complaining about the fact that Native American recording artists were AGAIN shut out at the Grammy Awards this year.

The Grammys in New York took a weird turn this morning as the nominations were a shocker: Ed Sheeran’s best selling “Divide” did not get an Album of the Year nod, neither did albums by Lady Gaga or Kesha. Instead, the Grammys went mostly for R&B and rap: Jay Z, Bruno Mars, Kendrick Lamar and Childish Gambino, who is really the actor Donald Glover. CBS must be plotzing. (I’m thrilled because I love the Childish Gambino album.)

Indeed, all the acts they want on the show– the white pop acts– have been relegated to the Pop Vocal category. That’s Gaga, Sheeran, Pink, Kelly Clarkson, Kesha.

How the Grammys became the R&B/Hip Hop Awards will be the subject of much discussion at Black Rock today. Their traditional country nominee is absent, which for CBS is a disaster.  The only pop singer who scored an Album of the Year nod was Lorde, the 20 year New Zealand singer whose “Melodrama” album not much of a hit compared to her previous outing.

Kendrick Lamar, Glover, Bruno Mars and Jay Z also took up most of the Record and Song of the Year categories even though almost none of that music is not what is typically thought of for those categories. I’ll bet a lot of pop, rock and R&B stars are in shock right now. Ed Sheeran and his team must be having Xanax omelettes.

Again, for older skewing CBS and producer Ken Erlich, this will be a challenge. This is not the show they want. Having no country nominees in the main categories is heart-attack inducing.

I don’t see what the problem is. If the television advertisers are to be believed, white people like nothing better than advertisements featuring black people. Especially if those black people are implied to be having sex with white people.

One love! So brave. Thank you for this.

Let it go to Hell

As I’ve told my children, Let It Go is an expression of pure Crowleyian evil; it doesn’t even rise to the less evil version of W. Somerset Maugham, as there is no due regard for civic mores. Dalrock and his readers have noticed too:

Anonymous Reader notes that Let it go is well loved by modern Christians:

I have not yet encountered a single churchgoing person in my social circle who has a problem with “Frozen” the movie or with “Let it go” the song. Not one. That includes a couple of families that are part of leadership. Pointing out the “no rules” part is like describing the color “purple” to someone who is blind. They literally can’t see anything wrong – perhaps because “It’s DISNEY” or something. I’ve gotten blank stares from people over 40 but also parents under 30. It’s bizarre.

I don’t think the messenger makes the message palatable.  It is the message itself that is loved.  Women and girls learning how to throw off all rules and inhibition is core to our new morality.  The song isn’t loved as a guilty pleasure;  it is loved as a bold moral declaration.  Stop trying to be a good girl and learn to worship yourself is a moral exhortation.  As Vox pointed out in The devil that is Disney:

Disney is run by literal satanists preaching Alastair Crowley’s “do what thou wilt shall be the whole of the law” to children. They are one of the primary engine’s of the West’s degeneracy and decline. It is not an accident that everything they touch, in every industry, turns into morally radioactive slime.

Children, including Christian children, understand this best of all.  They know what their parents worship, what their parents see as righteous (even if their parents fall short of living the ideal).  They know that Frozen and Let It Go is a morality tale that teaches them about our most sacred beliefs.

Perhaps the concept is a little easier to grasp when it isn’t a pretty cartoon character warbling, but Leo Moracchioli doing what is a more aesthetically honest version of the song. The only thing that would really improve upon the song is a video full of tattooed strippers on poles doing drugs that ends with snow falling upon a grave with a woman’s name and dates indicating that she died in her 20s.

Leo is now my favorite band. His covers are awesome. I love his version of Africa. And the six – SIX! – guitar solos in his Californication are simply epic. All six are great and fit perfectly within the song somehow, but Scallon’s solo on the eight-string is my favorite just for how he delivers it, expressionless, on an escalator. It reminded me a little of 808 State playing First Avenue with their backs to the crowd for the entire show. That transcended the very concept of cool.

One thing I will say for YouTube: it has totally transformed the way young guitarists learn to play their instruments. It is ASTONISHING how good they are.

UPDATE: Wow. That is all. Just wow.