Sunday, August 28, 2016

The Real Bosses of Hollywood

Few days before the official premiere of "Denial". A film which its easy to figure out how accurate on the real facts its plot will be. As it looks , we are before another libel sponsored by the well-known international gang. No way to ever see this film ofcourse. Just grabbed the chance to remember for one more time who are the real bosses of hollywood. 

Here is some intresting parts from an interview taken from Rachel Weisz (who is the main actress in "Denial"). This will be another proof, to keep us in mind when we are watching a film who is the sponsor behind it.

Interview parts (the underlines are mine) taken from INDEX MAGAZINE (2001

EMMA: But, you see, you're holding back from saying what you said at the store, which was that you thought you looked too Jewish. Is it limiting as an actress to be perceived as being too ethnic in any way?
RACHEL: Well, I think you and I have always felt the same way — that we're Jewish but we can get away with just being exotic. We're kind of Jews in disguise. Those cultural stereotypes about the Jew with the big hooky nose and the fleshy face rub off on you. That's terrible to admit, isn't it.

 EMMA: Well, it's that Jackie Mason joke about how no Jewish woman wants to look Jewish: "'You think I look maybe a little Italian, I look a little Russian, perhaps I can be Spanish?' … 'You look Jewish!'"
RACHEL: Hollywood's run by Jews. I was advised by an American agent when I was about 19 to change my surname. And I said "Why? Jews run Hollywood." He said "Exactly." He had a theory that all the executives think acting's a job for shiksas.

 EMMA: Of all the self-loathing Jews in the world, the most self-loathing are the Hollywood Jews. They don't want to see images of themselves on screen. That's why Lauren Bacall had to hide her identity, and Winona Ryder changed her name from Horowitz.
RACHEL: In some way acting is prostitution, and Hollywood Jews don't want their own women to participate. Also, there's an element of Portnoy's Complaint — they all fancy Aryan blondes.

Check also this intresting links:
The official David Irving website (with daily updates) 

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Sunday, August 21, 2016

The Cross and The Dragon: The Pagan Roots of Irish Crosses

Article & Interview taken from:

Venceslas Kruta, an expert on Celtic art and civilization, explains the symbolism that underpins the Celtic cross

  When Celtic art is mentioned today, the term evokes the art that characterised those peoples now known as the ancient Celts – the peoples documented in the fifth century BC to the north of the Alps and recorded by classical historians during the following centuries as they expanded their territory towards the south and south-east. This art movement extended into Britain and Ireland once they had been Christianised in the first half of the fifth century.

So Celtic art can give the impression of being the artistic expression of all the peoples speaking the Celtic language. But the art of the ancient Celts was the result of a very long search for image-based expression, and the ideas common to the Celts since their origins vary according to the context. Venceslas Kruta, author of a new book, Celtic Art, explains its origins.

- We see a lot of crosses and dragons in Celtic art – what do they have in common?

 At first glance, very little. However, the Celts believed they were fundamental elements of a system, complex but consistent, which expressed their understanding of the universal order. The starting point is the notion of centre, a crucial concept for ancient Celts. It is here that the cosmic axis is supposedly found, imagined as a tree, preferably oak carrying mistletoe, whose branches support the canopy of heaven and the roots joining the underground world. It thus linked together three superimposed worlds: the Heavens, the Earth of the humans and the Underground world.

  - The representation of a world defined as four parts linked by a centre is one of the most frequent themes in Celtic art, isn’t it?

Yes, since the fifth century BC. Its simplest shape, a circle and a cross superimposed, is thus depicted on flat spoons most probably used for a ritual purpose, many of which have been found in Ireland. Their midpoint is sometimes pierced, suggesting their use during libations. This association of a cross, indicating the four major directions, and a circle, symbolising the limits of the territory that surrounds the central point, not only has a spatial value, but also a temporal one. The space defined by the journey of the sun and time can indeed not be separated: the four arms of the cross refer to the four daily events of the sun: from sunrise to sunset, including zenith and its equivalent underneath the horizon, but also the yearly events: solstices and equinoxes.

  - And what’s with the dragons?

The emblem of the pair of dragons, present on the Continent since the sixth century BC, decorated mostly weapons, especially sword scabbards of warriors in the fourth and third century BC. According to an account of the Welsh Mabinogi, such dragons would have been found on Excalibur, the legendary sword of King Arthur. The fight between the two dragons is figured in a most meaningful way on the cover/top of a remarkable artefact, the ceremonial jug from Brno, a masterpiece of Celtic art associated with the beginning of the bright season, the Beltane festival. It represents in a suggestive way most of the constellations that dominated in about 280BC the night sky on the day of this festival, as well as the one for both solstices and the Samain feast, beginning of the dark season.

  - What other images were there?

Several monuments have been discovered which marked the supposed place of the world axis, different for each community. This type of monument, known as their Greek name omphalos (umbilicus), has the shape of a pillar with decoration on each of its four faces. The most ancient one – the Pfalzfeld pillar in Rhineland, from the fifth century BC – and the most recent one – the Irish pillar of Turoe (Co Galway), probably from the first century BC – illustrate the evolution of this concept: from the representation of the divinity face wearing the mistletoe leaves, repeated on each side, to different images on each side, even maybe evocations of areas of the canopy of heaven that correspond to the four cardinal directions.

  - So this was about the Celts trying to impose some kind of order on their world?

The ancient Celts’ artworks are not made of borrowings or fortuitous inventions but are the expression of an extremely structured system of their idea of a universal order and its spatial and temporal understanding. Its dynamical aspect is fundamental. Its roots are ancient ones and its general elements are common to both continental and insular Celtic people. Those elements are one of the basis of their cultural unity.

  - And, finally, where does the Irish Christian cross come into all this?

The ultimate step of its symbolic representation is the Irish Christian cross, on which the pattern is arranged vertically. The Christ figure is in the centre – it has thus become the axis that links the heavenly, terrestrial and infernal worlds. However, on some of the crosses, solar patterns are depicted in place of the Christ. Even the pair of dragons can be found on some of them, which are supposed to have their annual fight. Such is the case of a cross of Gallen Priory (Co Offaly), where dragons coil up around a giratory pattern, a sort of curvilinear swastika, or on a Dromiskin cross (Co Louth). This confirms that the specific shape of the Irish cross is the result of a reuse of the old Image of the World in the Christian iconography. None of this is unusual, since the meaning of origin was fully compatible with the Christian doctrine. In Ireland, the image has thus been treated the same way texts from the traditional literature have been, turned away from their most obvious pagan aspects, and customised with a Christian aspect to best serve the new religion.

 Venceslas Kruta is one of the world’s leading experts on Celtic art and civilisation and author of Celtic Art (Phaidon)

Saturday, August 13, 2016

The Perseids Meteor Shower 2016

"The Perseid meteor shower, the most prolific meteor shower of the year, peaks on the night of August 11, 2016. The Perseids is a favorite of many stargazers because it shows more bright meteors than most showers, usually about 50-60 per hour.

Like most meteor showers, the Perseids are simply dust-sized pieces of icy debris expelled from a comet, in this case, Comet Swift-Tuttle. As the Earth passes through the comet’s debris trail once each year, some particles streak through our atmosphere and heat up, leaving a transient bright glow we call a meteor. The tiny particles burn up in the atmosphere. Very few, if any, make it to the Earth’s surface. Some hit the moon, too, though they’re too faint to see, even with a telescope.

The Perseids build slowly, starting in late July when you might see 3 to 4 an hour. They peak when Earth passes through the thickest part of the debris stream on August 11-12. At the peak of the show, in clear, dark sky, you might see as many as 60 meteors an hour."

Dorset - England

Cantabria - Spain

Jankowo - Poland

Vienna - Austria

Lindisfarne - England

Holloko - Hungary

Friday, August 5, 2016

Die Wilde Jagd

Painting: Franz RitterVon Stuck - Die Wilde Jagd
Music: Giuseppe Verdi - Requiem Mass Tuba Mirum

"One of Stuck's best-known paintings "The Wild Chase" depicts Wotan (Odin) on horseback leading a procession of the dead. It was completed about 1889, the year of Hitler's birth, and it has acquired a kind of semi-legendary status as the face of Wotan in the painting greatly resembles Hitler's."

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