August 14, 2024

Judaism as a Third Way / Non-Aligned religion arising on the faultline between Christian and Muslim empires during the Dark Ages

Second post collecting together related ideas from an earlier comment section, building a model for why there as an explosion of conversion to (mainly Talmudic) Judaism during the Dark Ages, where it happened, and when it happened, surveying a very broad range of Jewish communities.

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As far as I can tell, there was no mass migration of Judaeans out of Judaea during / after the collapse of the Roman Empire. They mostly stayed put, first converting to Christianity, and then to Islam. Their descendants are today's Palestinians, regardless of their religion.

Where did all these Medieval Jewish groups come from, then? They were mostly converts or adopters, a process that happened in many places independently of each other -- e.g., Sephardic Jews in Iberia and the Maghreb, and Ashkenazi Jews within the Khazar Empire (mainly, the non-Turkic subjects of the Khazars).

There's no evidence that any of these Medieval Jewish groups ever spoke a Semitic language, let alone Hebrew or Aramaic, which the Second Temple Judeans did. They kept their language from pre-conversion -- Old Spanish (Ladino) for the Sephardics, Farsi for the Persian Jews, and some Indo-European pidgin (Yiddish) for the Ashkenazis. Most of their culture remained the same as well -- only their religion changed.

Why did so many groups, separated by so much space, simultaneously adopt Talmudic Judaism? I think this was an attempt to forge a Third Way religion, a Non-Aligned Movement of its time, in the broader context of the expansion of Christianity and Islam.

Christianity was spreading via the Byzantine and Frankish Empires first and foremost, but secondarily through the Nestorian Church / Church of the East in Sasanian / Abbasid territory. Islam was spreading via the first Arabian Caliphate, and later successors like the Abbasid, Moorish, Fatimid, and various Turko-Mongol ones (like the Seljuks, Ottomans, Timurids, etc.).

Cuius regio, eius religio -- if you threw in your lot with a certain polity, you had to adopt their religion as a pledge of allegiance. If you wanted some kind of political autonomy, you had to adopt a non-aligned religion -- you weren't siding with any of the Christian empires, nor with any of the Muslim empires. Non-aligned, Third Way -- Talmudic Judaism!

Crucially, though, Talmudic Judaism could position itself as overlapping in interests with both sides, as it was a fellow Abrahamic religion. And its ancient prophets were still being looked up to by both Christians and Muslims. Talmudic Judaism did not precede Christianity, but in harking back to Second Temple and earlier stages, it could claim to precede Christianity and Islam -- hence, setting itself up as a dispassionate, wise elder that could adjudicate between the younger squabbling children, Christianity and Islam.

Forgot to mention the Bulgarian Empire as the other major vector for Christianity's expansion, in Eastern Europe / Slav-dom (Kievan Rus' played little role in this -- Old Church Slavonic is really Old Bulgarian, a Southern Slavic language, not Old Russian / Ukrainian / etc. from Eastern Slavic).

This matches with the geographic distribution of Medieval Jewish groups. They're on frontier zones between Christian and Muslim empires, where the pressure to remain non-aligned would have been greatest.

If the region were mainly Christian, the pressure is simply to adopt Christianity -- there's no Muslim presence that would justify your Third Way religion, as a triangulation strategy. And vice versa in regions that are primarily Muslim -- with no Christian presence, there's no logic to a Third Way religion. At least not where that Third Way is Talmudic Judaism.

The only Jewish empire ever -- the Khazars -- were smack dab in the middle between the Christian and Muslim spheres of influence, around the Caucasus mountains and sprawling toward the north, with Christianity to the west and Islam to the east.

Ashkenazi Jews emerged from the Khazar Empire, as did the Turkic off-shoots of the Khazar elite like the Krymchak Jews of Crimea.

Sephardic Jews came from the frontier between Christian Iberia and the Muslim Maghreb. I consider Maghrebi Jews to belong to the same group, with the only difference being language -- the adopters from Iberia kept speaking Old Spanish (Ladino), while the adopters from the Maghreb side kept speaking Maghrebi dialects of Arabic / Moroccan / Berber languages.

Jews in North Africa vanish as you move away from the Christian frontier of Iberia -- e.g. in Libya, where there were mainly Muslim polities, and no room for a Third Way to emerge.

Likewise as you move toward Northwestern Europe -- no native Jews, since France and Britain and Germany were entirely Christian, no Muslims nearby, hence no way for a Third Way to emerge. This also reinforces the view that the Ashkenazis do not hail from Germany, where there was no way for a Third Way to emerge, but originally from a region with a strong Muslim presence nearby, like the Black Sea, Caspian Sea, Caucasus, etc.

Ethiopian Jews lie on a frontier between the Christian parts of Ethiopia (in the north / west) and the Muslim parts of Ethiopia and Somalia (in the south / east). So do the Yemeni Jews, who are just across the Red Sea from historically Christian Ethiopia, but also have Muslims nearby in Somalia as well as all of Arabia.

There's a tiny pocket of Egyptian Jews, at the confluence between Muslim North-central and Northeast Africa and Arabia, and the semi-Christian Levant and nearby Anatolia and Greece.

Mountain Jews reflect the same position as the Khazar and Ashkenazi Jews, around the Caucasus between the Christian west and Muslim east.

Persian Jews come from the old days when Nestorian Christianity was expanding and at its peak in Iranian-controlled lands, which included Mesopotamia and into Afghanistan and the southern part of Central Asia. They were positioning themselves between the early Muslim Abbasid rulers and the Nestorian Christians, especially in western Iran and Mesopotamia. But also further east into Afghanistan (Herat -- not so much further into Kabul, where there were few Nestorians), Samarkand, etc.

However, Nestorian Christianity disappeared during the early 2nd millennium, and Iranian lands became fairly uniformly Muslim, so the logic of the Third Way bit the dust as well, so that Jews from Iranian lands are much rarer than in other places as a result.

A fascinating example are the Cochin Jews of Kerala in Southwestern India, which not surprisingly happens to be the only state in India with both a substantial Muslim population (stemming from seaborne Arabian traders, not land-army invaders from the north), and a substantial Christian population (Nestorian, naturally, having received missionaries from Sasanian / Abbasid empires). In the 21st C, Muslims are about 25% and Christians 20% of the population of Kerala. As always, these Cochin Jews speak the same language from their pre-conversion days -- Malayalam (a Dravidian language), not Hebrew, Aramaic, or other Semitic language.

This establishes the tight spatial correlation between a faultline between Christian and Muslim empires, and adopting Talmudic Judaism (or in a few cases, Karaite Judaism -- also not Second Temple, but very much a modern-era LARP to RETVRN to pre-Talmudic ways, in the same way that Christian fundamentalists are thoroughly from the modern era).

But the temporal correlation is there as well. None of these groups practiced any strain of Judaic religion before the Dark Ages, and crucially, before the rise of Islam in the 7th C. Talmudic Judaism itself was only codefied around 500 AD. But there was no initial explosion of Talmudic Judaism in the 6th or even 7th centuries -- more like the late 1st millennium.

That is, after Muslim empires had expanded to such a broad extent, as well as the broad expansion of Christian empires in the west (which did not happen during the Roman days, or even just afterwards -- the major Germanic polity and culture, the Saxons, didn't adopt Christianity until conquered by the Frankish Empire circa 800 AD, also the time that the Slavs began adopting Christianity via the conversion of Bulgarian Tsar Boris I "the Baptizer" in the mid-9th C).

And we can infer the date of their conversion fairly tightly in some cases, like the Sephardic Jews, whose Romance language (Ladino) is a dialect of Old Spanish -- before the Castilian-led ethnogenesis, and imperiogenesis, during the Reconquista of Iberia from the Moorish Empire. It's not a dialect of Iberian late Vulgar Latin or whatever, so it's not from the early portion of the Dark Ages either.

It's from the late 1st millennium, and it is therefore more similar to Portuguese and Catalan, which were not the leaders of Spanish ethnogenesis, and did not radically revolutionize their language in order to signal that this was a whole new ethnic group being born, with a new set of shibboleths by which to identify each other.

E.g., Ladino, like Portuguese and Catalan, still uses sibilant consonants in the places where Castilian ("Spanish") transformed them into "th" at the front of the mouth and "kh" at the back of the mouth.

Which sectors of society did this Third Way strategy appeal to most? Apparently the merchants, traders, financiers, and the like. They are the least political, wanting to be left alone to hawk their wares, supervise trade routes, move the stuff along trade routes, lend money and collect loans, etc.

This government, that government, this state religion, that state religion -- who cares? I just wanna control the trade routes between them, and not get involved in their military or religious disputes.

It did not appeal to the military, which has the strongest interest in picking one side of an imperial fault-line. They're going to be the ones defending or expanding that fault-line. Jewish soldiers and Jewish jocks are the exception that proves the rule.

Nor did it appeal to the religious officials, for obvious reasons. They're there to serve the existing major religion of their empire, not abandon it for some strange foreign religion, and for no good reason (like accepting their conquest by foreigners). Jews for Jesus are another exception that proves the rule.

Didn't appeal to landed gentry / landowners / cultivators either. Perhaps cuz this sector was heavily intertwined with the military and religious sectors during the Dark Ages. The central state was fairly weak, so most armies were fielded by landed aristocrats, and the church / mosque owned a lot of productive land. Jewish hardscrabble farmer living off the land in nowheres-ville is another exception that proves the rule.

This is why Talmudic Jewish adopters were more urban than rural -- and remain so right up through the present day.

I'm leaving aside the genetic angle for the most part, since we're talking about cultural in-groups and their evolution, not tracking genetic populations over time.

But in any case, the genetic evidence is very weak for the view that Medieval Jews (and their modern-day descendants) represent a demographic migration out of Judaea, i.e. stemming from the practitioners of Second Temple Judaism and perhaps the even more distant ancestors of Second Temple Jews.

There has been a ton of admixture in every Jewish group, which confounds attempts to shed light on who their ancestors were, and especially *when* the admixture occurred. Admixture, when two distinct genetic populations start having babies with each other, wipes out a ton of the historical record on BOTH sides, rendering the merged resulting genome a lot more difficult to decipher for historical purposes.

Just like, on the cultural side, when two languages start to heavily influence each other -- a ton of old words are lost on BOTH sides, wiping out a huge swath of the historical record for BOTH languages. While not making it impossible to peer into their respective histories, it does confound the hell out of the attempt.

I think the general pattern can be seen in this recent article on Medieval DNA from a 14th-C. Ashkenazi Jewish cemetery in Erfurt, Germany.

Below the Summary section, is a Graphical Abstract. Note the graph in the middle, showing where the individuals cluster in a simplified genetic space. It shows two distinct sub-populations -- and this is confirmed in the results section by tests of bi-modality, i.e. two distinct distributions with each having a peak of its own, not just one great big happy distribution with a single peak.

In the post-Medieval era, present-day Ashkenazi Jews no longer have a bi-modal genetic cluster pattern, they're a single genetic population, which lies between the two separate ones from the Medieval era.

I interpret this to reflect that at their origins, the Ashkenazi Jews were unified on a cultural basis, like an economic niche of controlling trade routes, developing a pidgin / lingua franca like Yiddish, and being fellow subjects of the same empire (Khazar), who had recently adopted a new religion (Talmudic Judaism). They transmitted these aspects of their culture throughout the generations.

But at first, they were not genetically unified -- that only followed later, after their cultural unification / standardization. They figured, Hey, we're all following the same religion, speaking the same language, practicing similar economic roles, hailing from the same regional roots -- we might as well merge our families and clans, to cement and protect our special status as Third Way religionists and economic specialists.

And so they did -- and nowadays, the Ashkenazis are one single genetic population.

In the Medieval era, one of their sub-groups was more European -- meaning Slavic or perhaps Balkan Greek or West Anatolian Greek, not Germanic. And the other sub-group was more "Middle Eastern" -- a weasel deflecting term to insinuate they're Judaean or Levantine or Semitic without the evidence to back it up. In reality, more of an East Anatolian Greek, Caucasus region, or Iranian strain of "Middle Eastern". Not Semitic, nor any other Saharo-Arabian population.

These two sub-groups both had the same idea in the Khazar Empire -- why don't we specialize in a certain economic role, and adopt this Third Way religion so we remain neutral (but similar to both sides) in international trade routes, diplomacy, finance, and other mercantile and bureaucratic activities? It didn't matter that one was more Slavic and the other more Iranian. Politics makes strange bedfellows -- culturally at first, and later perhaps literally, as in this case.

With other groups of Jews, the story is presumably similar or more extreme.

The extreme cases are unadmixed populations, where we can directly see that they're just converts from the local genetic population. This is the case for Turkic ones, like the Krymchaks of Crimea. And the Yemeni Jews. And the Ethiopian Jews. And the Persian Jews.

The other major case of an admixed Jewish group is the Sephardics, who are a merger between Iberians and Maghrebis, i.e. the two relevant sub-groups under the control of the Moorish Empire, which straddled the Strait of Gibraltar, including much of Iberia and the Maghreb at the same time.

If some researcher discovers Medieval DNA from a Jewish cemetery in Cordoba or Tangier, and compare it to today's Sephardics and Moroccan Jews, the picture will presumably look like the Ashkenazi one linked above -- a bi-modal genetic cluster pattern during Medieval times, and a more uniform one among present-day descendants. Cultural unification and standardization first, then familial mergers and genetic admixture, after they've grown comfortable and familiar with each other within their Third Way cultural enclave.

Forgot to mention the Cochin Jews as another obvious case of conversion among the local genetic population. They look and speak exactly like their non-Jewish neighbors in Kerala.

We have to emphasize all of these extreme cases cuz the propaganda goes that "Judaism does not proselytize or welcome converts easily", as though to suggest that today's Jews are a latter-day Judaean diaspora.

The more examples we find of obvious local converts, the more that propaganda implodes. The main arguments are about the Ashkenazi and Sephardic groups not being Judaean, but there are all sorts of lesser examples from far-flung regions that, collectively, bolster the argument about a wave of conversions across the Christian-Muslim faultline during the late 1st millennium AD, independently of each other but for similar reasons (convergent evolution, not identity by descent). And not a mass migration from Classical Judaea to these many distant lands.

Another major weakness of genetic data is that determining who resembles who else, is highly sensitive to which groups are included in the comparison! Leave out the very diverse genetic populations of the Caucasus region, for example, and you can't conclude anything about Ashkenazi Jews *not* coming from that region. Or don't include many Persians, etc.

Here's an article reviewing these important points, and arguing for Ashkenazis coming from a Slavic, Iranian, and (weakly) Turkic genetic and geographical origin.

When you include a fuller, richer sample of eastern Anatolia, Iran, northern Mesopotamia, and all around the Caucasus, the results returned are Ashkenazis being something like 25% Caucasian, a conclusion that does not appear when this region is poorly and thinly sampled relative to the Levant.

When the Levant is heavily sampled, this makes them the only logical place for Ashkenazis to resemble in their "Middle Eastern" component. It's just baking in the desired result ahead of time, circular reasoning.

And again, admixture confounds the attempt to decipher genetic population history. So even to the extent that Ashkenazi Jews *do* somewhat resemble Semitic-speaking Levantines, we can't infer that this reflects a shared ancient Semitic common ancestor. Caucasus / Iranian DNA began flowing into the Levant well before the Classical era.

So perhaps the resemblance between Ashkenazi Jews on the one hand, and Lebanese or Palestinian Christians on the other, is simply pointing to them both having a very old Caucasus / Iranian bunch of DNA -- in the Ashkenazi case, cuz they're from that very region and didn't migrate, and in the Lebanese or Palestinian case, cuz they received migrants from that region several thousands of years ago.

Clustering graphs in principal components analysis, don't tell us how they came to share their genes, or when their common ancestors lived.

This is where cultural analysis excels, since the record is far richer over history -- whereas finding Medieval or Ancient or Prehistoric DNA is very very rare, in comparison. Especially since the relevant cultural groups here are all literate and from sedentary or semi-sedentary civilizations, with recorded histories.

Ashkenazi Jews are never recorded as speaking Hebrew, Aramaic, or other Semitic language, as their first, everyday language (only for liturgical purposes -- but that no more establishes their deep ancient affinity with Judaeans than the descendants of the Aztecs "preserving" Latin as a liturgical language, connects them genetically to the Romans or Byzantines).

Whereas Lebanese, Palestinians, etc. in the Levant never stopped speaking Semitic or more broadly Canaanite languages, from antiquity to the Dark Ages to the present.

Conclusion: Ashkenazis are not a diaspora that originated in the Levant. Neither are the Sephardics, who also never spoke Hebrew or Aramaic.

What about the genetic argument about "Jews resemble each other more than their local populations"?

Well, first, there are numerous examples against this dum-dum canard -- Ethiopian, Yemeni, Krymchak, Mountain (Caucasus), and Cochin Jews.

This argument really relies on the Ashkenazi and Sephardic cases. Iranian Jews have the lowest genetic relatedness to other Jewish groups, meaning they're another obvious case of local converts.

Ashkenazi Jews resemble each other more than their host populations cuz they are a unique admixture between a Slavic and an Iranian ancestor population -- who the hell else can boast of a similar lineage since the Medieval era? Nobody. Hence why they resemble each other so much, also having been endogamous ever since.

Likewise for Sephardics -- they are a unique admixture of Iberian and Maghrebi source populations, which means they resemble each other more than they resemble the relatively unadmixed descendants of Iberians and Maghrebis, among their neighbors.

So why do Sephardics and Ashkenazis resemble each other, then? They have a different set of source populations that they're admixed from. Well, not so much -- Iberians are western Indo-Europeans from the Mediterranean, and so are Greeks and Southern Slavs. This could be the shared DNA between Sephardics and Ashkenazis, respectively.

They are also highly admixed with a genetic Middle East / North Africa component, unlike Iberians or Greeks or Slavs. So perhaps their similarity is a result of having Southwestern Indo-European DNA, with a notable MENA DNA mixture as well, even if this MENA source is different for Sephardics and Ashkenazis -- it's still a point of commonality between them, which is lacking or less intense in Iberians, Greeks, and Slavs.

Likewise, the Iberian component of Sephardics separates them from other Maghrebi-derived groups, and the Slavic component of Ashkenazis separates them from other Iranian-derived groups. Both of these exceptional sources is Southwestern Indo-European, so the specifics of their exceptionality is also similar.

So, they don't have to come from the same source populations to bear a resemblance, or even more of a resemblance than they do to their neighbors. It's just that they're both highly admixed, within a relatively recent time-frame, and whose source populations are semi-related in being southern and western Indo-Europeans. That's it!

Bearing in mind all the numerous cases of obvious local converts, including the major "Mizrahi" group, Iranian Jews, this means there's no mystery to solve! They were all converts in the late 1st millennium AD, and they only differ in the degree to which they admixed with other converts from other genetic populations -- not at all for most cases, but they did for Ashkenazis and Sephardics. Moreover, one half of the sources for each of those admixed groups was semi-related (Greeks or Slavs, and Iberians, both being Southwest Indo-Europeans).

Unlike the very sparse genetic historical record -- meaning, DNA from various eras over time, not trying to decipher history from present-day DNA -- the rich cultural historical record bears this out. No mass migration, no diaspora, no preservation of Hebrew or Aramaic as the native language.

And the true descendants of Second Temple Judaeans largely became Christian, then Muslim, staying put in the Levant, amply confirmed genetically and culturally / historically.

Why the hell would anyone expect a mass migration and diaspora out of Judaea after the Roman Empire fell, and why would they have abandoned their purported native language of Hebrew or Aramaic, when the whole point is that they were an endogamous ethnic enclave that did not just melt into their host societies?

The Roman Empire included all sorts of territory -- and yet none of them are purported to have been sent scattered to the four corners of the globe as a result of the collapse of their imperial overlords.

In fact, the only recorded -- historically and genetically -- mass migrations after the Roman Empire fell were from *outside* of its territory, and outside of their Persian rivals' territory, for that matter. Namely, the Germanic and Slavic migrations in Europe, and the Turkic and Mongol migrations in Central Asia. The subjects of the Roman and Parthian empires more or less stayed put during the Dark Ages, struggling to defend themselves against these nomadic barbarian invasions.

Nobody else from the Levant, Southern Europe, or North Africa is claimed to have been sent on a mass-migrating diaspora journey after Rome collapsed. So the Judaean purported example would be without contemporary counterparts who shared the same purported causal pressure.

And no, just destroying the Second Temple and expelling Jews from the single city of Jerusalem doesn't force them into a diaspora all over the Old World. It means they hole up in the nearby Galilee instead. Sedentary people tend not to want to roam all over the place and leave their homeland behind forever to live in the wild or among strangers.

Crushing a regional revolt doesn't do that either, a la the end of the Roman-Jewish Wars -- Syria seceded during the Crisis of the Third Century (under MENA baddie Queen Zenobia), this revolt was eventually crushed as well, but it didn't send Syrians scattering all over the place.

And even if there were a Judaean diaspora post-Roman collapse, the purported direction / destination is totally backwards! When your imperial overlords and sponsors and patrons collapse, the LAST place you want to go is their home turf, cuz it's becoming more unstable, impoverished, and socially fragmenting by the day.

This is confirmed in the Roman case, where there was tons of "Eastern Mediterranean" DNA from sites in Italy during the imperial heyday of the 1st and 2nd centuries AD. Once they began disintegrating during the 3rd C, who the hell would want to migrate there? And who the hell would want to remain there, if they were of recent Eastern Med immigrant background? They'd want to bail off of that sinking ship, and return home -- or to some other, more promising empire.

I like empires that didn't get disintegrated...

And so, by the mid-1st millennium and after, there is *comparatively* very little Eastern Med DNA in Italian burial sites (there's still some, cuz again we can't infer history from a snapshot, and Italians have had an Eastern Med DNA component for thousands of years previously).

The only places you would want to journey to after Rome fell, would be the Frankish Empire in NE France, the Byzantine Empire around Constantinople, the Bulgarian Empire nearby in Thrace, the Sasanian Empire (counterpart of the Byzantines, as the Parthians were the counterparts of the Romans), the Abbasid Caliphate in the same place as the Sasanians later on, the Seljuk Empire that replaced the Abbasids for that matter, the Khazar Empire around the Caucasus, the Moorish Empire in the Western Med, and maybe the Fatimid Caliphate in Egypt.

What do you know? These are exactly the locations where major Jewish groups suddenly appeared in the post-Classical era.

Forgot to mention the Romaniote Jews -- a group of local converts from the Byzantine Empire, who are Greeks that adopted Talmudic Judaism in the Dark Ages, and speak Byzantine-derived Greek, i.e. after the Byzantine era erased much of the case system from Ancient Greek. (In a typical process of imperiogenesis eroding inflection of its language, to make it easier for the shitloads of L2 learners that now must speak it, as the empire expands out from the founding ethnic group.) They are not Second Temple Jews, whose Greek dialect would've still had a fair amount of inflection in it.

The dum-dum argument about the Ashkenazis having "Roman" DNA is that they poured into Italy during Rome's heyday, and also after its collapse as they fled Judaea. Maybe during the heyday -- everyone else did so as well, it was the place to be. But when it collapsed, they would not have moved onto Germany, since that place was a backwater, not a rising prosperous empire (which was further to the western side of the Rhine, in the nascent Frankish Empire). They definitely did not pour into Italy during / after the 3rd C, when it was disintegrating.

If the story was they picked up some Italian DNA from visiting Rome during its 1st and 2nd C heyday, then fled back home, or to some other rising empire where they are documented to have been, after Rome fell, OK. But that's not the argument, which is instead that the Ashkenazi left Italy for Germany, where they later emerged as Yiddish-speakers, and only after that, a portion of them migrated east into Slavic lands.

Bzzt, wrong direction! There was no rising empire in Germany to attract far-flung strivers looking to make a quick stable buck. The only direction could have been from Italy back to the Eastern Med, either remaining in Greece / Anatolia, or wandering through the Bulgarian Empire (Slavic) or the Khazar Empire (multi-ethnic, not Germanic though), or the Sasanian / Abbasid / Seljuk empire to the further east (even less Germanic). And only from these empires, migrating to the north and west to eventually wind up in Germany -- last.

This "follow the money" argument agrees with Wexler's argument about Yiddish not being an entirely Germanic language originally, let alone one from the Rhineland. But beginning as a Slavic language that was later re-lexified to a Germanic vocabulary and perhaps some morphology, while retaining Slavic syntax and phonology.

There was plenty of money to chase in the Bulgarian Empire, as well as among Slavic subjects of the Khazar Empire -- but comparatively far less among the Germanic groups to the east of the Rhine. If they had joined the Frankish Empire, they wouldn't speak a Germanic language anyway -- the Franks quickly adopted a Romance language, leaving behind their Franconian dialect of German. But the Ashkenazi have never spoken a Romance language as their native tongue, so we can rule out an early stay among the Franks as well.

As I said before, Yiddish has very little inflection compared to other Germanic languages, or languages in general. Even less case inflection than Standard German, which is already somewhat lacking in inflection cuz it became an imperial language with lots of L2 learners, during Germany's imperiogenesis.

So either Yiddish began as a lingua franca in a multi-ethnic context, with lots of L2 learners -- in the Khazar Empire. Or it was adopted very late, after German had already gone through the loss of much of its inflection system, and because the Ashkenazi were L2 learners at the outset, it served as a lingua franca and so lost even more inflection by the time it solidified into Yiddish.

In either case, they did not have a Germanic language as their native language in the 1st millennium, when their ethnogenesis took place.

The earliest recorded use of Yiddish is 1272 -- very damn late into the Dark Ages, well after the other major Jewish conversions. And they were literate! This wasn't their first exposure to literacy, and they're just expressing a language that was previously only spoken for centuries.

We know they're in Germany from those 14th-C burials in Erfurt, albeit still genetically separated. They're culturally unified -- buried in the same cemetery, with no spatial segregation within this Jewish cemetery. But they may have only very recently adopted / constructed Yiddish.

What language did they speak during the cultural unification of the previous several centuries? Either some other language that was re-lexified into a Germanic vocabulary and some morphology, or something else entirely. But presumably a Slavic language, given how much Slavic influence there is in Yiddish.

If that Slavic language came from illiterate Slavs from the Khazar Empire -- and not the literate Slavs from the Bulgarian Empire (and adjoining Slavic cultures near Kiev and Moscow and etc, where Cyrillic spread, or Western Slavs where Roman letters spread), then the lack of a historical literate record is not surprising. It was a spoken lingua franca among a multi-ethnic group that had a lot of illiterate Slavs, and official records were kept in Arabic, Farsi, Turkic, etc., as the main bureaucratic and administrative languages.

The whole logic of (purported) diaspora Jews being an ethnic enclave is that they were endogamous, so did not genetically intermix very much with their hosts, and were culturally apart as well -- different religion, attire / grooming, food taboos, residential living areas, and so on. They are purported to be an ethnic enclave of migrants into the host society.

That is contradicted by the absence of the purported ancestral language, in every single one of these Jewish communities outside of Judaea. When migrants show up and form a semi-enclosed enclave, they maintain their native language! Sometimes it's the *only* language they speak, and even if they also pick up the hosts' language, they retain their native one alongside for awhile -- until they start assimilating. But the Jews never did assimilate, they kept their distinctive religion, clothing, grooming, food taboos, and the rest of their purported cultural heritage.

When Chinese migrants leave China, they form Chinatowns -- and they continue speaking Chinese. Before Italians assimilated into America, they kept speaking Italian languages. So did the Germans, Greeks, and everyone else who wasn't already Anglophone.

Languages are hard to sever over time because there are such huge switching costs to adopting a new native language -- a second language, OK, but not replacing the old native one with a new native one. Very rare, and usually not voluntary, but related to imperial conquest.

So it's damning that no Jewish group is recorded to have spoken Hebrew or Aramaic outside of Judaea, when there's so much inertia behind keeping your language, yes even in a diaspora situation. And if you do give up your native language for that of your hosts, you also give up the other cultural distinctions, in a broad process of assimilation. But we know that Medieval Jews were culturally separate from their Christian or Muslim hosts in all sorts of readily identifiable ways -- not the least being their religion.

Genes and language are correlated, if not perfectly. So isn't it strange that the one cultural component that could most strongly bolster a claim for a Judaean origins of Medieval Jews, is the exact opposite of expectation? They speak the languages of their "hosts" -- because they originated from the exact same culture! They're converts, not migrants.

They are like Euro-descended Americans who speak English while adopting Zen Buddhism, yoga, feng shui, green tea, kimonos, flip-flops, vegetarian diets, and other cultural markers of Buddhist East Asia. These cultural markers are easier to fake for converts, compared to learning a new language -- no white American Buddhists speak fluent Japanese, Chinese, Thai, etc. They speak American English! And their community always will!

Language, more so than the relatively easy-to-fake markers, is the main place to look as to a group's history. It's not perfect, but it does shed light.

And in the case of Medieval Jews, and their modern descendants, they are clearly local adopters who altered their religion, clothing, grooming, diet, etc., to fall in line with Talmudic Judaic precepts, while not adopting a Hebrew or Aramaic or other Canaanite language. Just like white American Buddhists.

It's morbidly ironic that the present-day Jewish state is filled with migrants (or their children), NONE OF WHOM can claim a genetic *or* cultural heritage stemming back to ancient Judaea. And that the people they've spent their entire society's history wiping out -- the Palestinians, and at times other Levantines -- are those who have stayed put in that place this whole time!

Genetically, this is settled.

But even culturally, none of the Zionists or their ancestors spoke a Semitic language. The Palestinians and their ancestors did.

The Zionists are not a diaspora which is RETVRN-ing to its ancestral homeland -- anymore than Aztec-descended Catholics who invaded and occupied Rome, or perhaps Toledo, would be RETVRN-ing to their ancestral homeland. Or white American Buddhists who laid waste to Thais in Thailand. It's such a sick obvious joke!

I know, I'm not retarded enough to believe that historical dynamics are shaped mainly by ideas or anything cerebral and nerdy like that. It's material, including social cohesion that is shaped by material militarized invasion near one's physical home turf.

The Jewish state has been propped up by various empires in various states of stagnation and collapse since its inception -- the moribund Ottoman Empire at the outset of settlement, then the British care-takers after the Ottomans bit the dust, then the Americans after the British bit the dust yet only during the late 1970s. America bitchslapped Israel out of the Sinai Peninsula during the Suez phase of the Arab-Iraeli Wars, in 1956, by threatening to annihilate Israel's British imperial overlords economically.

Really the only time Israel had to fight for itself was after 1956 and before 1978, during which it won one war (in '68) and then stalemated in another (in '73), before giving up its autonomous fight and agreeing to vassalage to the American Empire (in '78).

But with America collapsing now, and with new people becoming unified in their struggle against the Zionist invasion -- mainly in Southern Lebanon and Syria -- Israel will have no external sponsor to back it up in reality, and will face ever-mounting forces from their rising-asabiya neighbors, Hezbollah.

These material dynamics are what shape history, not academic debates and evidence about whether or not the Zionists truly have a legitimate claim to that land.

It's just worth emphasizing, for the sake of the truth -- if not for anything that affects the course of history -- how totally upside-down the entire project has been about restoring the Jewish homeland.

Luckily for the true descendants of the Second Temple society, this sick joke is rapidly coming to an end.

The geographic origin of Talmudic Judaism was Iran, not the Levant. The standard Talmud is the Babylonian one, i.e. written near historical Babylon, but administered by Iranian empires ever since the Achaemenids of the mid-1st millennium BC, right up until it was conquered by the Mongols, and then winding up in the Ottomans' possession, a British then American care-taker relationship, etc. Baghdad hasn't been under true local autonomy for 2500 years.

The Palestinian Talmud composed in Jerusalem is *not* the standard one.

So even at the very outset of the Talmudic / Rabbinical era in the mid-1st millennium, before the mass conversions of the last 1st millennium, the source of innovations and standardizations within Judaic religion and culture had decisively left the Levant for Iranian-controlled lands.

If Zionists wanted to RETVRN to Baghdad and restore the glory of original Talmudism, that would be one thing. That's where their particular religion actually comes from, not the Levant. And as it turns out, that's where a lot of their genetic and other cultural heritage comes from -- although more on the Iranian side proper, not Iranian-administered Iraq. Still, closer than their connection, genetic or cultural, to Judaea.

More on Yemeni Jews and the pretzel-twisting nonsense that academics and propagandists talk themselves into, in order to promote the overall grand narrative of a vast Judaean diaspora in the late Roman or post-Roman era...

Autosomal DNA shows that present-day Yemeni Jews are the same as other Yemenis and Arabians, not genetically distinct at all.

Even without this genetic evidence, they don't resemble other Jewish groups culturally, but do resemble their non-Jewish neighbors.

For example, their wedding ceremonies don't have a bridal canopy, they don't walk around anything or anyone ("circumambulation"), and their costumes don't look like any other Jewish group's wedding costumes (highly decorated and elaborate, and really emphasizing the color gold).

Without any blood evidence, I can tell they do not share a common *cultural* ancestor with the Ashkenazis (who are, instead, Indo-European from somewhere near the Caucasus).

Their seder ceremonies are also unique, neither Sephardic nor Ashkenazi.

They don't play egg-tapping games or decorate eggs for their springtime renewal holiday (Passover), which is an Indo-Euro thing that Ashkenazis do (and in some very weakened form, Sephardics do outside of Passover, due to their Iberian heritage).

These three have nothing in common within the past 2000 years, culturally or genetically. Three separate groups who adopted Talmudism, while retaining much of their pre-existing local culture (and genepool -- the only innovation there being admixture among Jewish adopters of different sub-populations, but within the same geographic region, e.g. Slavs and Iranians near the Khazar Empire to yield Ashkenazis).

There is also a risible attempt to portray the rulers of the Himyarite Kingdom which controlled much of southern Arabia / Yemen, as converts to Judaism as of circa 400 AD. If true, this would go against my claim that major conversions to Judaism appeared only after the rise of Islam, and where Islam and Christianity cohabited, opening up Judaism as a Third Way / Non-Aligned Movement.

The only concrete conclusions we can draw from Himyarite religion in the late 4th through 5th centuries, is that it became monotheistic, or maybe henotheistic (emphasizing one senior god above other lesser gods within a polytheistic pantheon). And that this was influenced by both Jews and Christians from the Levant -- they came under Byzantine pressure to adopt Christianity, but they wanted to remain politically autonomous, so rejected Christianity.

But they didn't "adopt Judaism" -- what would that even mean in 400 AD? There was no Talmud compiled until a century later, so Talmudic Judaism is out. The Second Temple was long destroyed, so Second Temple Judaism, with its priestly caste that oversaw the sacred ceremonies of its focal religious site, is out as well. This was a limbo period for the descendants of the Second Temple people -- nothing very defined and elaborated for anyone else to adopt.

References to the "Lord of the Jews" or "Lord of Israel" are epithets that non-Jews use as well, like Christians. Did they have material copies of the Torah or the entire Hebrew Bible? Or at least orally transmitted "copies"? Nope. Did they follow kosher dietary laws? Who knows, probably nope. Did they circumcise their babies? IDK, but no reference that they do. Did they celebrate Passover? These are the kinds of things that would identify them as specifically Jewish in religion, not merely "vaguely Jewish-influenced or Jewish-inflected monotheism".

This was a time of all sorts of syncretic religions showing up, typically with some Abrahamic influence, whether Second Temple Judaism, Christianity, or otherwise. Like the popular Manichaeism. So the most accurate term, given the evidence, is not "Judaism" but "Himyarite monotheism" or "Jewish-influenced Himyarite monotheism".

This was a time of all sorts of syncretic religions showing up, typically with some Abrahamic influence, whether Second Temple Judaism, Christianity, or otherwise. Like the popular Manicheanism. So the most accurate term, given the evidence, is not "Judaism" but "Himyarite monotheism" or "Jewish-influenced Himyarite monotheism".

Even then, this does point to the crucial role of Christianity as the state religion of empires, and the desire for polities seeking political autonomy to adopt some Jewish-ish religion as a cultural marker for their political autonomy. It's just that there was no Islam, let alone Muslim empires, to serve as the other pole, with Judaism being a triangulating strategy. Perhaps Old South Arabian polytheism served as this other pole, but I doubt it. I just don't think the Himyarites were Judaic in religion, just monotheistic and influenced in some ways by Judaean religion.

Soon after this Himyarite monotheism, though, it was conquered by the Christian nation / empire of Axum from Ethiopia, which crossed the Red Sea. Then it became Christian, even as it eventually became administered by the Sasanian Persian Empire -- much like the way they tolerated Nestorian Christianity within the core of their empire.

The island of Socotra, to the south of Yemen and to the east of Somalia, was an outpost of Nestorian Christianity as well.

So in the Dark Ages, Yemen had Christian pressures primarily from the expanding state of Axum from Ethiopia, then internally within Yemen, and from a nearby major island. We think of that whole area as nothing but Muslim today, but it was fairly Christian back then. And of course there was a major Muslim presence after the rise of Islam -- it was near ground zero.

So, the perfect place for a group of locals to adopt Talmudic Judaism as a Third Way, which is exactly what happened. Wikipedia's entry on Yemeni Jews has a timeline that is only legendary for ancient times, overblown BS for the early Dark Ages (equating Himyarite monotheism with "converting to Judaism"), and then absent until the early 2nd millennium, when they become part of an international body of Jewish groups, e.g. corresponding with Maimonides.

So that's a good indicator of their date of conversion -- in the late 1st millennium, well after the rise and spread of both Christianity and Islam within their region.

Worth reviewing the extent of Christianity in Iranian-controlled lands during the Dark Ages, since it was huge. It was Nestorian Christianity, or the Church of the East, headquartered near or in Baghdad, and covering much of present-day Iraq and the western half of Iran proper, then extending in pockets off toward the east, covering the western part of Afghanistan, up into southern Central Asia, including Merv, Samarkand, Bukhara, and Tashkent.

And notice the outposts in Southwestern Arabia & Socotra, as well as Southern India. Once Muslims showed up in these places, it opened the door to Yemeni Jews and Cochin Jews as a Third Way religion.

Eventually it reached into China during the Tang, Song, and Yuan periods. Along the way some Mongol tribes adopted it, including the Kerait clan, who made up the wives of Genghis Khan's sons, and their sons as well.

But it began very early, in the 5th C, in present-day Iraq -- under Sasanian rule, whose state religion was Zoroastrianism, but which tolerated Nestorian Christianity as a counterweight to their Orthodox Byzantine rivals. They were not necessarily Semitic speakers, it stretched up into Northern Mesopotamia which would've been more Indo-European and Iranian. The common factor is -- at the core of the Sasanian Persian Empire. Hence one of its nicknames being the Persian Church, not the Iraqi or Arabian Church.

As Islam spread throughout these Iranian-controlled lands during the Abbasid and later eras, this opened up Talmudic Judaism as a Third Way between Nestorian Christianity and Islam. And that's exactly where Jews are in Iran and to the east.

However, Christianity was late to arrive in the more eastern lands, and so was Islam. Nestorian Christianity went into decline during the 14th C, and was more or less wiped out by Timur, to be replaced solely by Islam. This dried up the Third Way logic in the eastern parts of the Sasanian Empire and beyond.

And so "Persian Jews" have remained more of a presence in Western Iran, where the Nestorian Church had existed since a far earlier time and up to a later date -- and where Byzantine Christian pressures were not so far away to the west, along with Frankish Crusader pressures in the Levant. These two were not exactly right along the frontier, as the Nestorian nucleus in Mesopotamia and Western Iran was, but still a powerful and looming Christian pressure, unlike the void of Christianity to the east after the rise of the Timurid Empire.

Needless to say this Mesopotamian and Western Iranian region was also home to many Muslims as well -- Persian Jews sprung up, and have remained along a local Christian-Muslim faultline, where Talmudic Judaism offered them a Third Way / Non-Aligned religion.

The next big question is -- does this pattern exist elsewhere or at other times? Not where Christianity and Islam are the two poles, and Judaism as the Third Way. But say, Hinduism and Buddhism as the poles, and some other minority / niche religion being the Third Way.

I don't know enough about niche religions in Southeast Asia and the Pacific Islands, or Southeastern India, but those are all places where Buddhism and Hinduism should have opened up a niche for a Third Way.

The Parsis in India, maybe? That would be with Islam and Hinduism as the two poles, in western / northwestern India. They're the only group practicing that religion, though -- not a whole series of converts from across the Muslim-Hindu faultline in South Asia. They arrived with a Third Way religion already, as a fairly well documented diaspora / migration, not local adopters.

The problem with looking for other examples is that perhaps there's something unique about the relationship between Christianity, Islam, and (Talmudic) Judaism, where the niche Third Way is not just any ol' Third Way -- it's one that overlaps decently with each of the two major poles, and in some sense can claim to precede each of them.

That's the ideal Third Way -- it's non-aligned, compatible with both sides, and can demand respect from the two majors, as the elder religion of the trio.

Maybe in other times and places, the Third Ways available are not as ideal -- only similar to one pole, not the other, or maybe not similar to either side. A recent invention rather than preceding them both. Etc.

Hinduism precedes Buddhism, and is related to it, but Hinduism did not spawn another major religion that is territorially close to Buddhist lands, to serve as the other pole, with Hinduism acting as a niche Third Way. Rather, Hinduism is a major pole in its own right, not like Judaism.

Could be something going on in sub-Saharan Africa, or the Americas, I have no clue.

One thing I don't think works, though, is a fusion of the two poles into a Third Way. That's not non-aligned, which is "neither/nor" -- fusion is saying "both/and". Fusion is clearly trying to please both sides disingenuously, while non-aligned is saying I have no dog in the fight, leave me alone and I'll leave you alone, not I'm trying to pledge allegiance to two rival sides at the same time, which is unsustainable.

Judaism really hit the sweet spot in the context of rising Christian and Muslim empires. It's its own coherent religion, not a transparently fence-sitting, both-sides-ing fusion. And yet it's not any ol' non-fusion religion -- it is still similar to each, making it palatable to both without being a deliberate ass-kiss. And it at least partly precedes either side -- so it wasn't recently invented for the purpose of diplomacy, making it more trustworthy. And being older, at least in some sense, it gets respect for being the wise elder.

A looottt of traits had to line up in a single religion for it to see such an explosion of growth in conversions, for a religion that doesn't prosyletize or easily welcome converts. And all doing so independently of each other, at the group level. A very rare event indeed, so that it's the only religion where -- purportedly, but not really -- the majority of its practitioners are in a diaspora, not near where it began.

But that's no great mystery after all -- it's so widespread cuz of adoption, not migration! But to be widely and independently adopted, so many favorable traits had to be working in its favor, within its historically contingent political and cultural environment.

It's miraculous!

189 comments:

  1. 3 Holo honies join the Aquanator for a group karaoke! Azki and Fuwamoco, who even performed one of Aqua's original songs, in a touching send-off moment. :)

    And Raora is dedicating multiple drawing streams to an illustration of Aqua. Very nice to see some of the EN girls paying tribute to their trailblazing senpai like this. ^_^

    So far, though, most of the tributes have been from her JP colleagues. But just cuz you don't have many personal interactions to reflect on, doesn't mean you can't offer a tribute -- like Raora has done.

    Tributes to an under-5-foot giant within your industry are not necessarily about personal experiences you had with them, but about the role they played within your industry. That's something you can appreciate and memorialize even if you never interacted directly with them.

    Same with fan tributes -- fans have never hung out with her in person, but they appreciate the role she's played in the vtuber medium.

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  2. While leveling up in Zelda II, Okayu's chatting about how she first got interested in retro games while growing up. Her grandmother had cleaned up her home and stored away a Super Famicom in the closet. Okayu discovered it... but it didn't have an AC adapter. So she took some of her part-time job earnings and bought one at a second-hand store, and the rest was history!

    She also said she had a school friend from the gyaru sub-culture (derived from the preppy and Juicy Couture spray-tan scenes in America).

    https://en.wikipedia.org/wiki/Gyaru

    But contrary to the giga-stacy reputation that these girls had, this one thought Okayu's fondness for the Super Famicom was cool and interesting. She was friendly toward the otaku type! Her chat was incredulous, but Okayu swears there are gyarus out there who are otaku-friendly, speaking from her own experience. ^_^

    That reminded me of Fauna's story about being an emo high school senior who took gym class later than usual, while everyone else was younger, and how she was adopted into a clique of popular stacy girls during gym class.

    You can tell she cherishes that experience, cuz she still prefers playing the onee-san role to younger and even childlike colleagues -- like her oshi and BFF in Hololive, the Goobinator, who is often mistaken for a child at airports, hehe. Goob may not be the preppy cheerleader type, but Fauna likes the feeling of being the "cool because somewhat older" friend who the younger ones look up to. ^_^

    I wonder if that's why Okayu had a fondness for Marine. Maybe she reminds her of her gyaru friend, who was unusual in being otaku-friendly. Not that Marine is full-on gyaru -- but that she's a flirty, sexy, giggly, extraverted, popular party girl type, while also being very otaku-friendly (enjoys anime from all eras, sings music from all eras, does illustration as a hobby, clears Touhou bullet hell games, and even created her own video game in RPG maker as a high schooler -- The Second World).

    I luv these stories of yin-yang friendships, since girls are usually so catty with each other. Very heartwarming. ^_^

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  3. Can't forget to mention FlaRys as another example. Or TimeRys, or MoomRys. Irys is by all accounts a pretty princess girly-girl in person, chatty, giggly, talks with her hands, loves dance music, tiny bouncing around hummingbird energy, and so on...

    But at home, she's ever-consumed by obscure bromance manga and anime, plays mecha video games, and has plunged into the hobby of collecting and assembling tacticle keyboards.

    Where does Hololive find such strange exotic creatures?! xD

    Reserved emo girls like Flare, Kronii, and Mumei would never believe that someone who looks like the pretty popular type could be so otaku-friendly! Or so open to joining the emo sisterhood, as Moom is plotting to do, hehe.

    Given her karaoke set-lists, which are heavy on the 2000s instead of the 2010s, I'm pretty sure Irys is a Millennial, and therefore actually the older one to Zoomers like Moom and Kronii. And yet, with her free-spirited childlike guardian-fairy possibly-illegal nephilim magic, she actually seems like the younger one in their presence. ^_^ Just like the young girls who adopted an emo elder high scooler in Fauna...

    They may be rare, but talent scouts will find them wherever they're hiding out, and match them up with perfect yin-yang friends, for us to behold and appreciate. :)

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  4. Hawaiian Japanese Brutalist Edenic resort! The Mauna Kea Beach Hotel, built in the late '60s, from the photo archive of G.E. Kidder Smith:

    https://dome.mit.edu/handle/1721.3/163510/discover?query=mauna+kea&submit=Go

    Secluded Edenic location, tropical plants abounding, water crossing through the site, all placed semi-menacingly along the wild ocean-front.

    Step pyramid with cellular structure -- partly Bronze Age relic, partly futuristic Space Age colony on some untamed planet.

    Stepped motif repeated at smaller scale along the sand-toned concrete, which bears visible and tactile impressions of the wooden formwork into which the concrete was poured. These highly textured concrete surfaces contrast with the smooth cobblestones along the water boundary, and with the smooth wood panels.

    Large gnarly rubble-sized stones that make up a large planter in the atrium, also contrast with the smooth surfaces elsewhere, even those that are also stone piles like the cobblestones along the water boundary.

    Coffered ceilings echo the cellular structure of the rooms as viewed from outside.

    Ubiquitous warm, figured wood panels provide another source of primitivism, while being shaped, stained, and finished in a slick sophisticated fashion. Including the hand rails, instead of cold matte metal.

    The tight lines along the foot path and pond are not "rigid", but strikingly geometrically design-y in order to counterbalance the organic curvy lush flowing plants, rippling water, and rounded cobblestones that lie along the straight lines of the water boundary. And these tight lines echo the overall geometric minimalism of the building on top of it.

    Pleasant yet stimulating two-tone color scheme -- with orange-y brown wood panels and dark stones contrasting with bright green plants and creamy and sandy concrete. All of them in earth tones, subdued and soothing as befits a relaxing resort location.

    Just the tiniest hint of a specific other culture, with a pair of weathered statues of Japanese Buddhist monks kneeling in meditation or prayer. But given our long-time fascination with Glorious Nippon, this only enhances the distinctly all-American feel of the hotel. And yet, it totally looks like something the Holo JP girls would build in Minecraft. ^_^

    No way could you discover such a fantastical yet futuristic site like this in Ye Olde Worlde. Only once you leave behind the Eurasian landmass, as in Japan itself -- or its distant Pacific cousin, Hawaii, the furthest outpost of America's westward expansion, while still being a proper state of the union.

    Brutalist buildings always preferred a secluded Edenic landscape for their setting -- only a highly developed urban core when absolutely and sadly unavoidable. How poetic that this Brutalist resort flouishes within the furthest reaches of American sprawl -- Hawaii.

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  5. Although fairly open in space by American standards, at both the near-ground level and at ceiling level due to the totally open atrium top, it avoids the light-and-airy Euro-LARP atmosphere by placing groups of tall trees to make it feel a little more like a cozy secluded forest.

    And there are many large air-bridges that not only provide convenience for getting around the complex without having to go up and down stairs, but obstruct the free flow of space and open sight-lines within the interior. They subdivide and comparmentalize what would otherwise be too-open space (too Euro).

    American architecture doesn't exist without air-bridges, they allow us to feel like we're magically walking on air, while still feeling protected on either side and below. It turns the space below from the mundane into a dry moat, and we're daringly crosses a drawbridge in a castle.

    This includes air-bridges on an incline, which are not really staircases -- that would be solid underneath the steps. These are more like ladders thrown onto a higher level to aid us in climbing -- not merely stepping, treading, or walking, but climbing. And in this kind of setting, climbing up into a fantastical tree-top village.

    The extensive use of air-bridges and tall plants to subdivide an otherwise too-open space, while also allowing the feeling of climbing, walking on air, and playing around in a tree-top village -- makes this hotel feel charmingly like a mall, just one that's only semi-enclosed.

    Even on vacation, Americans still want to hang out in a mall all day long. But then, malls were purposefully built to be leisurely oases for people to get away from the mundane drudgery of daily life. It's no surprise that they could be so easily adapted to function as resort hotels.

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  6. Also like a mall is the ubiquitous large groups of seating in the public spaces, including those that are meant mainly for foot traffic.

    A cluster of club chairs and a table is not just relegated to a lounge, or within the private guest rooms. They're all over the walking paths, as are benches -- just like in a mall!

    And just like in a mall, people are eager to hang out here, rather than hide away in their rooms. It's fun to hang out in a public space, and maybe do a little people-watching. Again, the space is not too-open, so you feel cozy instead of mutually exposed inside a panopticon.

    And there's no vehicular traffic or other visual, sound, and social pollution like you are subjected to in the "outdoor cafe seating" in an urban core. You're soothingly secluded from all that crap in a hotel, or a mall. It's pure paradise.

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  7. This is the thesis I favor.

    https://www.unz.com/article/religious-implications-of-the-carthaginian-theory/

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    1. Ron Unz's thesis isn't really in conflict with agnostic's thesis. Several centuries separate the Roman Empire and the formalisation of Talmudic Judaism in 6-7th century Mesopotamia and western Persia, which is enough time for Phoenician and Carthaginian converts during the Roman Empire era to heavily influence Judaism away from its 2nd Temple roots towards what would become Talmudic Judaism. Then after the 7th century, Talmudic Judaism spread from Mesopotamia and western Persia along the trade networks to various parts of the world, converting many merchants and traders along the way, including the ancestors of the Ashkenazis in Eastern Europe.

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  8. What about the Kaifeng Jews in China?

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  9. Why did the converts choose Talmudic Judaism over Karaite Judaism?

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  10. Kaifeng Jews from China are another perfect example, which I overlooked, and thank you for bringing them up.

    In the two maps linked in the post, which show the extent of the Nestorian Church of the East in East Asia, there were Christians in Luoyang, which is only 150 mi west of Kaifeng, same province of Henan. And there was a metropolitan see in Xi'an, a bit further to the southwest (a little over 500 mi away from Kaifeng).

    Also during the late 1st millennium, was the first wave of Muslims into China -- including major cities like Kaifeng and Xi'an (formerly known as Chang'an).

    The consensus view on the origins of Kaifeng Jews is they arose during the Song Dynasty, which is mainly the early 2nd millennium.

    The Nestorian Christians and Muslims arose there slightly earlier -- during the Tang, and into the Song, periods.

    So indeed, the Kaifeng Jews arose in the same place as Christian and Muslim communities, and slightly later than these original two -- suggesting a Third Way reason for their adoption of Judaism.

    Genetically and culturally, they seem to have started as a coalition of Persian Jews and local Chinese, more so the former. Their Y chromosomes mostly come from Iranian areas to the far west, but one of their lineages is a local Han-typical one (O-M175).

    https://avotaynuonline.com/2024/07/the-genetic-origins-of-the-jews-of-kaifeng-china-preliminary-findings/

    https://en.wikipedia.org/wiki/Haplogroup_O-M175

    Who knows what their autosomal DNA shows, though.

    But it is qualitatively similar to Sephardics or Ashkenazis, who started off as a multi-ethnic, genetically heterogeneous coalition within an empire (where there was a strong Christian and Muslim presence), and did not merge their clans and families until later on, after cultural unification.

    Matteo Ricci, visiting in the early 1600s, said Kaifeng Jews had different-looking faces from the Chinese, suggesting they had not yet genetically admixed by that point, and perhaps only after then.

    To settle the matter, we'd need Medieval DNA from Jews in China, like the Erfurt cemetery, in order to compare them to modern-day Jews in China, to see if they're still unadmixed or whether they admixed and are part-way between the two source populations, like the Ashkenazi.

    But in no case are they documented as speaking Hebrew or Aramaic as their native language, or possessing Judaean facial features or genes.

    They are yet another case of local converts -- some of whom were migrants from a Persian empire, not a Levantine one, and some of whom were entirely local Han Chinese.

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  11. And as elsewhere, Kaifeng Jews were merchants and traders, not from the military, the cultivator aristocracy, or religious officials. The most apolitical sector of society, in terms of pledging allegiance to a specific polity over long periods of time.

    They wanted to be left alone, and politically apart. So they adopted a religion that was culturally apart, and not linked to the major imperial religions, and yet that had some overlap with two major ones (Christianity and Islam).

    Looking into this history is yet another example of "Wow, Tang China was so cool..." ^_^

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  12. This suggests that we are going to see a bunch of Western European merchants and traders and businessmen convert to Judaism over the next few centuries because of the friction between the native Christians and the new Muslim immigrants in Western Europe.

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  13. There won't be a "Judaism as Third Way" movement in Europe cuz there's no Muslim polities in the region -- and have not been, since the Reconquista.

    Muslim immigrants are nothing but slaves in the West -- imported for cheap labor, or living off the taxpayer's dime. Either way, they do not represent a nation like Morocco, Egypt, Saudi Arabia, Turkey, etc.

    They're just slaves with no political power -- let alone through a Muslim government. To the extent that they have any political power, it's from the Western governments themselves, which are not Muslim.

    These Muslims also lack economic power -- they're slaves, at the bottom. They don't control a major sector of the economy, which would require dealing with them as a group.

    So there's no Muslim pole to open up a strategy of triangulation.

    I don't know about sub-Saharan Africa, where there are also Christians and Muslims. The point of the model is that both Christians and Muslims were powerful entities -- leaders of the government, and/or the economy.

    So if you wanted a cut of whatever those governments and economic sectors did, you had to pledge allegiance to them via converting to their religion. Adopting Judaism was a way to pledge your non-aligned status, being neutral rather than pledging allegiance, but also not pledging allegiance to their rivals.

    Only where and when Christians and Muslims play the same role in society, and in international affairs, will there be a temptation to adopt Judaism as a non-aligned maneuver.

    So not only do both C's and M's have to hold powerful positions within their own societies, there must be a political and culturally coded rivalry between them, where religion is part of that cultural marker of which side you're on.

    Today's Western states don't give a damn about promoting Christianity, being proud of their Christianity, let alone converting other nations to Christianity as those others are absorbed into our imperial sphere of influence.

    If anything, today's West vs. Muslim battle is less about religion, and more about "civil rights" as codefied in the woketard 2010s in America. Pro-gay marriage, or anti? Pro-puberty blockers for children, or anti? Pro-rainbow / tranny flag, or anti?

    A Third Way today would have to triangulate *those* cultural markers, not Christianity vs. Islam, which was relevant during the Dark Ages through the Early Modern period.

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  14. "Orange you glad I didn't say banana?" -- this joke isn't painfully reaching for believability, in the over-correcting NYC area accent of the Midcentury!

    Holy shit, it never occurred to me before. But I just read a tweet by Irys about a knock-knock joke, am now watching Fuwamoco + Biboo's karaoke where they're singing a song called "Orange", and have recently been thinking over a particular NYC Midcentury accent which Trump has. Talk about a perfect storm -- now I've figured out this joke! It's well-crafted after all.

    For context, it's a knock-knock joke. The answer is "banana", over 3 or more iterations. Then it's switched to "orange," -- orange who? "Orange you glad I didn't say banana?" yuk yuk yuk.

    But in most dialects of English, "orange" begins with a low-back rounded vowel. Yep, even in standard American, one of the few contexts were we still round our low-back vowels is if the syllable ends in "r". In all other contexts, we have changed it to "ah" as in "far".

    This confounds back-Easterners, who usually don't bother trying to adopt the standard dialect, and continue speaking their degenerated British dialects, where that low-back vowel is always rounded.

    However, sometime in the Midcentury, around NYC and maybe the Mid-Atlantic in general, there was an over-correction to try to adopt a more standard dialect -- they started pronouncing the low-back vowel as "ah".

    BUTTT, not knowing the exception to the rule, they did so everywhere -- including when the syllable ends in "r".

    If you hear Trump (born & raised in Midcentury NYC) say "Florida" -- the first syllable rhymes with "far", not "for".

    Tony Roberts, also born & raised in Midcentury NYC, has this accent like crazy. I remember it really standing out in The Taking of Pelham 1-2-3, where he's the Deputy Mayor. He's also in Annie Hall and other Woody Allen movies as Allen's friend.

    THEREFORE, sometime in the Midcentury near NYC, some jokester came up with this knock-knock joke. But in his dialect, "Orange" does not begin with "or", but "ar" as in "far". So it sounds just like "are"!

    To fill out the rest, "t" followed by an approximant "y" turns into an affricate "ch", as usual, and this is subtly changed to a "dg" (written usually as "j") with a wee bit of poetic license on the jokester's part. This makes "Orange you" sound like "Aren't you" in this dialect.

    The poetic license is NOT on the "or" -> "ar" part. That's the norm in this particular dialect.

    No WONDER this joke took off -- in the area where it was introduced, it was not painfully reaching for its poetic license. In the rest of the country, and even in present-day NYC where this Midcentury over-correcting accent is probably dwindling or gone, that "or" -> "ar" change just strains credulity too much, and we reject its attempt at being a well-crafted joke.

    The epiphanies one can only have by plunging into the pool of vtubers... ^_^

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  15. There are a handful of cases where the standard American dialect pronounces written "o" as "ah", even when followed by an "r" -- like "sorry", which rhymes with "starry" instead of "story". Only Canucks, perhaps just some subset of them, pronounce "sorry" to rhyme with "story" -- over-correction to sound more American? IDK, but it stands out.

    It doesn't take away from the points I made, just noting that there are also exceptions to the exception, making it very difficult to adopt the standard dialect if that's not where you're from. Only if you grew up speaking it, do all the cases fall into place naturally.

    Also to spell out what the wee bit of poetic license is in the joke, it's only changing a "ch" to a "j" sound, which only adds voicing to the consonant, with no other changes in place or manner of articulation. That's an easy reach, totally believable in the context of a joke.

    "Or" to "ar", in the standard dialect, is way too much of a reach -- changes the place from low-back to low-front or low-mid, and changes the manner from rounded to unrounded. All vowels in English are voiced, so they can't make this subtle change. Too different to believe, even as a joke.

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  16. It also explains why this joke occurred to someone. To a standard dialect speaker, we think "Wow, how long did it take you to think up this complicated, intricate joke, that has such a painful result?!"

    To us, we think someone used his jokester's creative mind to deliberately, effortfully come up with the "or" -> "ar" sound change. But why go to all that trouble, when it doesn't even really pay off? That sound change strains credulity, makes us hate the joke. It's a groaner, not a knee-slapper.

    But for speakers of the Midcentury NYC accent, they would've said phrases that began with "Aren't you...?" all the time in their daily lives. "Aren't you gonna eat breakfast before you leave?" "Aren't you gonna answer the phone?" "Aren't you gonna say thanks?" Etc.

    Some jokester notices that "aren't you" sounds very much like "orange you" (in this dialect), only differing in the "ch" -> "j" change (which is subtle, and he doesn't have to be able to articulate what the change is).

    That opens up the potential for a play on words! Let's see, how could I involve "aren't you" in a play on words with "orange you"...? Hmm, well, "orange" is a fruit... maybe if it involved another fruit, the play on words would be involved in a switcheroo. Knock-knock jokes are all the rage right now, how about that format? OK, well maybe the answer to "who's there" eventually becomes "aren't you..." where previously, it's some other fruit. Well, why would I be asking "aren't you...?" after saying "banana" before? Perhaps I keep saying it over and over, then the joke is "aren't you glad I didn't say banana?" -- which also has a nice unexpected twist ending, instead of being "banana" endlessly.

    'Ey, it's bee-YOO-ti-ful, baby!

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  17. Speaking of Annie Hall, there's a similar joke with a related sound change. Woody Allen's character is paranoid, sees anti-Semitism behind everything like it's witchcraft. He hears someone ask him, "Did you eat?" -- but he swears it was pronounced "Jew eat?" as a dig at his ethnicity.

    To explain this, "did" is first contracted to "d" -- "d'you". But that approximant "y" has the same effect as it does on a preceding "t", namely turning it into an affricate. So "t" becomes "ch", and "d" becomes "j". And "d'you" comes out as "Jew".

    This applies in the standard dialect, so we have no problem laughing along to this one. But the "orange you glad I didn't say banana?" is a sound change too far, in the "or" -> "ar" part.

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  18. Another example of "or" -> "ar" in this dialect, from Dick Miller (b. 1928 in NYC) as Mr. Futterman in Gremlins. "God damn foreign TV," where the first syllable in "foreign" is not "for" but "far":

    https://www.youtube.com/watch?v=1S-C1hQXoAU

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  19. The Aquanator beat Super Mario Bros 1 in just over an hour, with no save states or warping, and only a few continues at 8-3. She was playing in a parallel race with Shion, who also tends not to play retro games, but being fueled by the spirit of Glorious Nippon, still indulges in classics like this one every now and then!

    Since Aqua is such a beast, she let Shion warp on her side of the race, but alas, the under-5-foot maid-princess is just too skilled. Such a gamer...

    It's really going to be a huge loss when she graduates. She's got the all-around skills for any genre of video game (or simulator). She prefers FPS, but she's just as happy playing classics from before she was born, better than most so-called gamers today, who were raised on hand-holding simulators.

    Not many streamers who play FPS will also cover the classics like the 2D Mario series. Aqua is one of the few. ^_^

    She also played the "3D suika game with Hololive theme" (Treasure Mountain), and on her very first stream she casually racked up over 8000 points (a typical good game would be 2 or 3000). She would kick ass at NES Tetris, for sure. ^_^

    Also toward the beginning of that stream, there's a tutorial section, and when the Goobinator's character appears, Aqua shouts out "Same-chan!" in excitement. She still luvs you, Goob -- remember to show her you still luv her, too. ^_^

    She also sang "Fansa" during her recent karaoke, with a special adaptation of "A-qu-a beam!" in the lyrics. Still a Manic Pixie Dream Girl after all these years...

    I know Goob likes that one as well, that's where I first heard it, in fact (during one of her acoustic ukelele karaokes).

    The JP vtuber scene is very blessed to have someone like Aqua, who continues to give them great performances, right up to the end... she's being sent off as a heroine. Tiny, shy, and a little ditzy -- don't let appearances deceive you! ^_^

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  20. The pirate goddess was playing another Holo fan game (Elite Exorcist Miko), a shoot 'em up, or rather cute 'em up, bullet-hell style with kawaii characters and attractive background landscapes from the Hololive universe.

    As an expert at Touhou games, Marine was a natural with this one as well. ^_^

    I'm really impressed by the aesthetics of all these Hololive fan-made games. They're still part of "art must be aesthetic" rather than defect to the cult of crap, where ugliness, blandness, and poor construction are rationalized as cool-ackshually. Anti-art.

    Holocure, Treasure Mountain, Elite Exorcist Miko, CouncilRys RPG, and others I'm forgetting off the top of my head -- all have saturated colors in a range of hues, an Edenic or otherwise memorable setting, kawaii rather than cursed character designs, and MUSIC, catchy music at that (usually a new arrangement of existing Hololive original songs).

    This is the strength of heavily branding Hololive as a medium that derives from anime, manga, and video games made in those styles -- not photorealism, live action movies, etc. It means all of the fan-made content will be upholding these pro-aesthetic mediums as well.

    I can only imagine the fan-made content for face-streamers who play simulators -- more likely to indulge in irony-poisoned cult-of-crap uncanny-valley photorealistic 3D CGI / Photoshop slop. And with no catchy music!

    Good ol' Japanese culture will not accept the cult of crap, by and large, and if you want to ride its coat-tails, you must also abandon the cult of crap and become pro-aesthetic.

    Good for Japan, for being the standard-bearer in these times of anti-aesthetics led by the collapsing empire of America.

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  21. Dark Age Modernism from the heartland (Columbus, Indiana). First, a Brutalist castle / fortress -- Southside Elementary School (originally Junior High), built 1969 by Eliot Noyes (Harvard Five member who mostly did Midcentury Modern homes, as well as designing the IBM Selectric typewriter). Rare example of a Brutalist building for primary or secondary ed, and also a rare example of Brutalism for Noyes.

    From its founding era, including interior shots:

    https://www.alamy.com/stock-photo/southside-junior-high-school-columbus.html?sortBy=relevant

    Auditorium's red carpet, red upholstery, warm wooden chair arms, and coffered ceiling:

    https://facilities.facilitron.com/621fbe3fb7616d0044e63da5

    Somewhat recent overview and gallery (exterior only):

    https://52weeks.rickyberkey.org/2011/04/10/week-15/

    From a visit by hometown hero Mike Pence while VP:

    https://x.com/VP45/status/1177639549297741825

    Panorama:

    https://www.bcscschools.org/cms/lib/IN50000530/Centricity/Domain/190/16.png

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  22. As usual, the site is not urban -- seems to have been semi-rural when built, next to a fairground, now maybe a bit more suburban or exurban, IDK. But no other buildings in sight -- Brutalism always preferred these secluded non-urban locations -- campuses -- cuz it's channeling the same hilltop fortress energy as Dark Age people eager to defend themselves against roving nomads.

    And just like Dark Age architecture all over Eurasia, it's massive, solid, and impregnable, with very little door and window space that could allow the nomads to just break right on in and loot the place.

    Extensive use of BLIND coffering near the ground level, like the blind arcading of Romanesque and Sasanian and Tang architecture. Windows, if needed, must be placed way high up, so that nomads must at least use ladders to try to get in, and they're more easily defended. "Clerestory" is the technical term -- anywhere you encounter them, it means the society is nomad-dominant. America has never been a sedentary-dominant society.

    Castle-like parapets running around the top, imposing on anyone who doesn't belong there, letting them know this is not a place to fuck around with.

    Then on the interior, it looks exactly like a mall, which is the highest degree of American architecture's genre of "bustling cozy town inside of an imposing fortress".

    Well, this is just a school, not a full-on mall, so it's not quite as fully town-like, but still, it's a communal town square, just like a central court in a mall. And in true mall-like fashion, a great big sunken living room / conversation pit (resting 3 or 4 steps lower from the main traffic corridors around it).

    The massive skylight overhead of the commons, as in a typical mall, is a great reminder that fortresses are not about looking dark per se -- they're defensive against nomads, and they're not going to drop in from the sky, so that can be left open.

    I don't think the sparseness of the decor in the old pictures is accurate, probably from when it was first being broken in. I'm sure other furniture and planters filled it in over time, not to mention all the people who would've been hanging out there. It sure is filled in there now, as shown in the Pence visit.

    The commons floor is slate tile, and originally elsewhere it had carpeting -- I assume the type of red carpet shown in the auditorium. Brutalism and Midcentury Modern loved red carpet, as a hue that warms up the place, as a softer texture, and as a touch of sophistication as well. They really went all out for a junior high school!

    This school was built with funds from the Cummins Foundation, which took profits from the hometown deisel engine manufacturer of the same name, and shared the wealth by commissioning top architects to build schools, banks, plants, golf courses, and other structures around Columbus.

    A society that is merely wealthy doesn't produce these kinds of buildings and communities -- only a society whose elites are not greedy but generous.

    And in gratitude for their generosity, today's elites in Columbus have mostly left those earlier buildings alone, including Southside Elementary School. Unlike the callous desecrating scum who have demolished Brutalist masterpieces all over the East Coast, where America begins -- in the Midwest -- they are far less eager to destroy their own heritage, which they are instead proud of and seek to preserve it as stewards.

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    1. Well also Columbus, IN is small enough that it doesn't attract Euro-LARPing strivers that some of the bigger Midwest cities and college towns do (i.e. Indianapolis, Madison, Chicago, etc). Because then the Euro-LARPers move in and overwhelm the local population and dictate that the existing heritage be torn down and replaced with glass boxes.

      Delete
  23. First Baptist Church (also Columbus, IN), built 1965 by Harry Weese. Now how's *that* for Romanesque?

    https://i.ebayimg.com/images/g/jKQAAOSwUZxh9MKP/s-l1600.jpg

    Overview and gallery:

    https://52weeks.rickyberkey.org/2011/03/27/week-13/

    The only major way in which it's not Romanesque is the floor plan not being a cross. Otherwise, it's an odd assemblage of simple geometric volumes of different types, totally solid, massive, impregnable, imposing. Hardly any openings in the facade, let alone near the ground.

    In fact, the main entrance is a bridge over a dry moat -- hard to get more Dark Age than that. We just don't fill it in with water. Americans love an air-bridge over a dry moat.

    The massive size of the roof compared to the walls also make it look Dark Age, or cave-man. It might as well be a pit house -- only with slate tiles for the roofing, rather than thatched. All the better to defend from nomads -- hard to enter the walls when the walls are hardly there, just a huge steep roof. And those tiles are laid in a way that thwarts using them to climb up them -- your hands will slip downward off of them just like rainwater being slicked off, since the protruding piece is at the bottom of the tile (a rockclimbing function requires the protruding piece to be at the top, laying them in the reverse way of a typical roof).

    There's something resembling a rood screen at the altar:

    https://en.wikipedia.org/wiki/Rood_screen

    That's another Dark Age structure, to encourage coziness and seclusion, rather than a totally open-plan space like a Gothic cathedral. Rood screens and related structures were systematically gotten rid off during the post-1300 switch to a sedentary-dominant society, mainly during the 16 C. Leave it to a nomad-dominant society like America to bring them back. ^_^

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  24. More on the First Baptist Church. Several close shots of the bridge to the entrance, and how Dark Age it looks:

    https://esotericsurvey.blogspot.com/2015/07/first-baptist-church-harry-weese.html

    Gallery with more interior shots, emphasizing how low and narrow it is, until the expansive sanctuary itself. Very cozy and Dark Age, whereas a Gothic cathedral would be more open and airy all over the place, not just in the main area. And some pics of the central courtyard, which is also fairly closed-off. And one more pic of the bridge with people filing in, showing how precarious a group of intruders would find themselves. The side rails are barely even there.

    https://www.tboake.com/first_baptist.html

    The architect, Harry Weese, also designed the Brutalist underground fortress known as the DC Metro. The coffered barrel vaults in concrete may be reminiscent of Roman architecture (like the inner dome of the Pantheon), but it being underground, narrow, dimly lit, and winding around like a Byzantine labyrinth where multiple lines intersect, all give it a more Dark Age atmosphere.

    He and Eliot Noyes were of course born in the 1910s, truly the Greatest Generation of architects as well as of the general population.

    And the First Baptist Church is a member of the American Baptist Churches USA -- formerly known as the Northern Baptists, as a result of their split with the Southern Baptists over the Civil War.

    Tellingly, the winners of the Civil War adopted a name with two versions of the entire nation's name (American, USA), while the losers continue to emphasize their antagonism with American culture and society by not adopting a single nationwide name. Southern Baptists, the Southeast Conference, Southern Rock -- every chance they get, they will always identify as non-American or perhaps anti-American, as something separate from America.

    The most American religious architecture -- meaning, distinctly ours, not a LARP of someone else's -- is Mormon temples, and they're way out West. Next behind them are the Pentecostals of the Plains, like Oral Roberts University in Tulsa, OK, the most Midcentury Modern religious complex in the nation. But just behind them are Midwestern Mainliners, whose Modernist churches abound in flyover country. First Baptist Church, First Christian Church (by Eliel Saarinen), and North Christian Church (by Eero Saarinen) -- and that's just in Columbus, Indiana!

    I struggle to recall distinctly American churches or other religious buildings from the Southeast (not including Central-to-Southern Florida, which is not the Deep South, and *did* lie on the meta-ethnic frontier with the Indians, namely the Seminoles).

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  25. When people criticize "bland, boring church architecture" in America, it's probably Southern Baptist. Midwestern Mainline Protestants don't meet in places like that, but Midcentury Modern ones (some being great examples by starchitects, some being lesser examples by a local firm that nobody's heard of).

    Not that the Northeast is a whole lot more American than the Deep South, but because they were allied with the winning side of the Civil War -- the Midwest and West -- they absorbed some of our influences, were curious about Americanizing more, adopting parts of the standard accent, etc. Like I said, that over-correcting accent of Tony Roberts, Dick Miller, and Donald Trump is without a notable counterpart in the Deep South. They were so eager to show their American-ness that they overdid it a little.

    So, while the Northeast is also very bland or LARP-y in its religious architecture, there are some stand-outs like Saarinen's MIT Chapel, or the NYC church with Art Deco Jesus (I uncovered which church this is in a previous comment somewhere, but search engines cannot see them, sometime in the past 2 years, though, if you want to check each post and ctrl+F "art deco jesus"):

    https://www.newliturgicalmovement.org/2011/01/why-other-modern-is-important.html

    As always, this has nothing to do with libtard topics like slavery, racism, bla bla bla, which don't apply to many other societies. It's about proximity to the meta-ethnic frontier, standardization / homogenization of culture after the integrative civil war by those close to the frontier, and the resentfulness of the losers of that war driving them to be sluggish adopters of the standard or refuse to adopt it at all.

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  26. If there's a nice American-style church in the Deep South, I'd start looking in Jacksonville, FL, first -- cuz it's near enough to genuine America (Central-to-Southern Florida) that it may absorb some of its influences.

    That's where Southern Rock gods Lynyrd Skynyrd were from. And it's where this Brutalist fortress with Midcentury Modern interiors is located. I featured it before but again can't find the comment. The Mary Singleton Senior Center. Amazing that they went so all-out on an old folks' home!

    https://jaxpsychogeo.com/north/mary-singleton-senior-center/

    Might investigate later and report back, but like the senior center above, I'll probably have to stumble upon it serendipitously instead of hunting for it, so probably won't have anything to add soon.

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  27. I came across a Twitter thread on strip mall churches, and what struck me was the commonality of design whenever they get remodeled. All other windows other than the entrance are blinded, the columns that support the covered sidewalk are left in place, creating pseudo blind arches. The main entrance is turned into a greater arch, the sole entrance, deep set like a cave. The strip mall configuration has the parking lot as a black asphalt moat separating the church proper from the street.

    Also, congratulations, I am in awe at your influence.

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  28. Hint for Okayu, in Zelda 2! Use the jump spell to jump over very difficult enemies, and run away instead of attacking.

    (I hope this message finds its way to her somehow...)

    She's playing Zelda 2 again! ^_^ Last time, she almost got the hammer in Death Mountain, but was killed at the very end by a red alligator enemy that throws axes.

    You can use the jump spell to avoid a difficult fight with them. There must be enough space above for you to jump high. It cannot be done if the ceiling is low. Several of those alligator enemies are in a room with a high ceiling, so jumping over them will work. ^_^

    You can also use the jump spell to jump over the axes that the alligator enemy throws. You can't block them with your shield at this point in the game.

    Ganbatte! ^_^

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  29. What specifically are you referring to, with "Also, congratulations, I am in awe at your influence"?

    No vague-posting here.

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    1. My apologies, the Dem convention carried out many of your recommendations, especially with the musical selections of the state by state roll calls. At the very least it's a case of great minds thinking alike.

      As an aside, Tulsa Gabbard more or less did your proposed Kamala ad, except she went for the Terminator 2 Sarah Connor approach back in June.

      Delete
  30. Pejorative suffixes in English do not include "tard", contra the Wiki article on them. This is only a suffix if it's a bound morpheme, i.e. it can't stand alone syntactically with its own meaning like an ordinary word.

    They call it a libfix, akin to "-cation" derived from "vacation", e.g. binding to "stay" to yield "stay-cation". Or "-athon" derived from "marathon", binding to all sorts of things, e.g. "subathon".

    But "tard" is not just derived from "retard", it's a standalone noun of its own. How can we tell? "One tard" vs. "two or more tards" -- it functions as a typical count noun, in the plural marker. "That guy is such a tard, don't listen to him" vs. "What nonsense are those tards up to now?"

    And we can turn it into a bare verb, which come from nouns -- "Don't tard out so much".

    This abbreviated form is pretty old, at least back to the '80s. But even if you thought it came from 4chan, look at their other signature supposed suffixes or libfixes -- they're all standalone nouns as well.

    "Fag", "schizo", "sperg", "nigger", etc. Don't be such a moralfag, replyschizo, doxxnigger, etc. These are nouns, headed by the pejorative noun at the end, with some kind of modifier in front. That means "tard" is a noun on its own, as it heads the class of nouns with various modifiers in front of it ("libtard," "Trumptard," etc.).

    "Schizo" is an abbreviated form of "schizophrenic," like "tard". But it also functions as an unbound noun. "It's just one schizo shitting up the thread" vs. "Why are there so many schizos shitting up the thread?"

    So is "sperg" from "Asperger's", which is now an unbound noun. "Quiet, sperg" vs. "Who let all the spergs log on at once?"

    These are all totally unlike "-cation" or "-athon". You can't say "One -cation" vs. "Going on several -cations this year". You can't say "One -athon" vs. "Going to schedule several -athons until I can't perform any better".

    And you can't derive verbs from them, cuz they're not nouns. You can't say, "I think I'll -cation in August, just not sure where yet" or "I'm dying to -athon some activity all weekend long, just don't know which one yet".

    You can say "Don't sperg out" and "Don't fag out". "Nigger" and "schizo" are a little more resistant to become verbs, but they can be. Probably just a phonological thing, where we prefer it to be a monosyllable. So abbreviate "nigger" to "nig," and it's fine turning into a verb -- "Don't nig out so much when you hear the bad news". Abbreviating "schizo" to "schiz" sounds like a reach, but it makes it work better at turning into a verb -- "Oh great, that one anon is totally going to schiz out when he reads this..."

    Just had to clear that up. "Tard" is an unbound morpheme, and all of the 4chan lingo are nouns headed by a pejorative noun -- that final morpheme is not a suffix or libfix, but the head noun, and the first part of the term modifies it.

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  31. "Lord" is another one of those 4chan semi-pejorative nouns that take various modifiers in front -- edgelord, carelord, etc. It's an unbound morpheme, and those terms are headed by the semi-pejorative noun "lord". It's not a suffix or libfix.

    Other pejorative head nouns from 4chan lingo -- "cuck", "sister".

    Some positive head nouns from 4chan lingo -- "chad", "god", and "bro".

    The only libfix is "-cel", derived from "incel" which is a portmanteau of "involuntarily celibate". Celibate hinting at loser reasons, not high-status reasons. And I don't think that functions as its own noun. You can't say "one -cel is all it takes to ruin a thread" or "there are so many -cels in here right now, I'd better just leave."

    Wordcel, ironycel, theorycel, etc. -- this is possibly the only example of a pejorative libfix yielding 4chan lingo.

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  32. Fuwamoco went heavy on Aqua's songs in their karaoke, including the EN version of "Aqua-iro Palette", which they're still (I think?) the only ones to cover. They really appreciate the trail that their idol senpai has blazed for others, like themselves. ^_^

    Marine re-united with Flare for an IRL karaoke, like the good ol' days, and also sang "Aqua-iro Palette" (in JP of course!). It's a total classic.

    On a linguistic note, Aqua's name in Japanese has three moras, represented by 3 hiragana characters -- "A-ku-a". So when forming an affectionate nickname, ending in "-chan" or "-tan," it's not "Aqua-tan" but "Aku-tan", since they prefer only 2 moras for the first part. Likewise in pairings with another person, they prefer only 2 moras for each person's abbreviated name. E.g. Aqua + Okayu = AkuOka, not AquaOka or AkuaOka.

    I've known about the moraic nature of Japanese phonology for 20-25 years now, but it's still so foreign to me that each new example is a surprise.

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  33. Without specific examples, I figured it was just another schizo comment (vtuber fans are usually schizo), and I was right. No offense, just something to be aware of.

    I listed dozens of examples in the comments to the post on imperial distegration, and said specifically focus on '90s / y2k, not on the late 2000s and 2010s, and not on the late '70s and '80s. We just got done with the 2005-2019 cycle, so it's a bit tired by 2024, and that cycle also featured a strong revival of the 1975-1989 cycle, so that period was a bit tired by 2024.

    Therefore, focus on the 1990-2004 cycle, or even the 1960-1974 cycle, which saw a revival during the '90s and y2k. That's what is not tired as of 2024, and anyone even remotely in touch with the zeitgeist would know that.

    Instead, it's as I feared, and Millennials, who are frozen forever in the 2005-2019 cycle, keep trying to make it the hot relevant trend, even though most people who liked that stuff are a bit tired of it by now. Not iconoclastic about it, burn it, etc. -- just tired of it for now, maybe it'll enjoy a revival in the 2035-2049 cycle. But not now.

    And Millennials were heavily exposed to the '75-'89 cycle via its revival in the '05-'19 cycle, so anything from back then is also a Millennial influence. Boomers fondly remember disco and some early '80s as well. But Boomers and Millenials are out of style as of 2024 -- it's all about Gen X and Zoomers, who are bonding over the '90s and y2k revivals.

    So what did they actually play? Here's the list:

    https://www.npr.org/2024/08/21/g-s1-18188/democratic-national-convention-roll-call-music-state

    Literally 0 of my suggestions appeared, so I don't see how you read my influence into it. Hardly anything from the '90s and y2k, in fact. Without looking up the exact date of every song's release, I counted about 5-8 examples from the '90s and y2k, and a handful from the '60s and early '70s. Out of over 50 examples, that's a small minority.

    Still trying to make the late 2000s and 2010s be the hip cool hot relevant trending viral FOMO style forever and ever, when it's played out right now. And ditto for the late '70s and '80s revival. Again, not an aesthetic judgment, I love that stuff -- but in 2024, it's played out, and the '90s and y2k are what a dynamic exciting responsive campaign would be channeling.

    If you just mean that the tone was less emo, whiny, defiant, etc., and more of a feelgood party vibe, then that's true. Maybe someone passed them a memo on that, but maybe it's just that the emo energy of the 2005-2019 cycle has been used up by now. That's also why there's no protests or riots there this time, vs. 2016 and all around the country in 2020.

    In any case, the Harris / Walz campaign is still very peak Millennial. It's not as woketarded or fueling riots, cuz that energy burns itself out. It's not 2014-2020 anymore, so they are naturally going to be less woketarded and rioting. But everything else about them is still totally uncompromisingly Millennial (typical Millennial behavior).

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  34. Not just at the song level either -- 0 of the artists I suggested were chosen, for any of their songs. I may have more influence than the typical midwit on Twitter or Reddit, but beware of exaggerating it.

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  35. That's really disappointing. Again, not on a personal aesthetic level -- I love a lot of the songs they chose, but they're played out, and other songs that are also great from a not-played-out era had to have been chosen instead.

    It's not just an aesthetic matter, it's about how socially in tune they are, how responsive they are to the times, how well they know the society and culture they're trying to influence or govern.

    Their musical set-list is a very bad sign, showing that they're still pretending it's the Obama era of the late 2000s and 2010s.

    And this is just the part of a campaign or potential federal administration that is not very important -- it's just messaging, marketing, bread-and-circus stuff.

    If they are so out of touch on messaging and bread-and-circus stuff, they will be even more out of touch on the tough, difficult, serious matters -- like reversing the inflation of the last several years (or further back to the QE bonanza of the 2010s), unplugging from multiple battlefields where we are not just stagnating but being actively defeated by purportedly weaker enemies (which, instead, proves that WE are the weak ones, not the Houthis or Hezbollah or the Taliban or Russia), and so on and so forth.

    So I have basically no hope for the rest of the Harris / Walz campaign, and if they wind up in the White House, by hook or by crook, I have no hope that they'll make a dent in anything for the better.

    I already said I had very low expectations -- I'm not clueless enough to have not learned the lessons of the Trump 2016 campaign and admin. High hopes, depressing reality check. OK, got it, America is an irrevocably sinking ship -- but how far down will we plunge, how long to recover, how deprived of oxygen will we be for how long, etc.? It's looking worse, not better, on that score.

    Hollywood does nothing but on-the-nose throwbacks and references, at least make the right throwbacks and references. How hard is it to pass the test of "play the Macarena and make sure people dance to it in their seats" at the 2024 DNC, when there's already an organic buzz around those scenes from the '96 DNC all over Twitter? Pretty sad.

    Gen X-ers would've done better, and so would Zoomers. I'm guessing Millennials are repeating the Boomers' tactics of shoving out the elder generation, and locking the door against the next generation, to artificially inflate your own sense of importance.

    But you can't keep reality out of your echo chamber forever. When no Zoomers show up on election day, and Gen X-ers are shoulder-shrugging as well, don't blame anyone but your Millennial selves.

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  36. The Trump / Vance campaign has tumbled off a cliff compared to the Trump 2016 campaign, something that was already visible in the 2020 campaign. But still, who was their main (only?) musical guest? Kid Rock -- one of the icons from the '90s and y2k era.

    The DNC musical guests are more from the 2005-'19 cycle, like John Legend and Pink (who did have a few hits in the early 2000s, but is really an '05-'19 artist). The Dixie Chicks are going to sing the national anthem, at least, and they're a '90s / y2k band. But not as prominent in the convention as Kid Rock was in the RNC.

    Hulk Hogan was also still going strong into the '90s and y2k, albeit after a '90s in-yer-face 'tude-fueled rebranding. He's not just an '80s icon. So he counts toward boosting the '90s / y2k score at the RNC as well.

    It's just a single sign of the broader lack of realignment on the Democrat side. The GOP is the dominant party in the Reagan era, and that will not change until Democrats realign. But as shown by the musical choices of the two conventions this year, the GOP is still more in-touch and relevant and responsive, while Democrats are as always struggling to play catch-up and cluelessly out-of-touch in their own echo chamber.

    Not that the GOP is as dynamic etc. as it was at the outset of the Reagan revolution -- just sayin', it's more so than the Democrats of the same time, which is a very low bar to clear.

    If the GOP were truly playing 12-D chess, they would've played "The Macarena" at a crucial point in the RNC this year, have their relatively less puritanical delegates dancing non-ironically to it, and totally stolen the Democrats' thunder before they had a chance to do a callback to one of their own high-points.

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  37. To show how badly the DNC fumbled the ball in music, their main musical guests were Patti Labelle (good medley) and Pink (played-out aggro-maudlin BPD crap that didn't sound good even in 2017-'18).

    Do the clueless Millennials running this campaign know that Pink famously covered a Patti Labelle song? "Lady Marmalade", originally by Labelle in 1974, covered by Christina Aguilera, Lil' Kim, Mya, and Pink in 2001 (from the soundtrack to hit movie of the time Moulin Rouge):

    https://www.youtube.com/watch?v=RQa7SvVCdZk

    Why was this not part of the performance? Cuz it's from y2k, and Millennials are too echo-chambered and self-absorbed to take part in the y2k revival (before their teen years).

    And cuz it's too libidinal, about going for a visit to the red light district in New Orleans. This is supposedly in line with libtard obsesessions about "sex workers," and the tone is about how they're baddies who just use their clients to get easy money, which they use to party in style, they're so hot the clients are begging for more, etc. It's glorifying the independent and almost confrontational women, not the men. And the video matches that.

    Buuuutttt, there is still a libidinal sexual energy in there somewhere, even if it's not totally organic due to context being prostitution. Any heterosexual libido, any visual display of hot chick bodies, would only be enabling toxic masculinity.

    And they are not in fact sex workers -- they're singers and dancers, and the lyrics are about prostitutes. They're "stealing sex worker valor" in current woketard parlance. Only if they had actual OnlyFans models on stage, would it be OK -- but the RNC again totally stole the Democrats' thunder on that one, by giving a mocha chocolata OnlyFans girl like Amber Rose a platform.

    That's the other reason why woketard Democrats prohibited "Lady Marmalade" from being performed, when Pink and Patti Labelle were the two major artists. Lyrics about mocha chocolata, skin like cafe au lait, Creole, etc. -- um, that's LITERALLY exotifying her non-standard racial phenotype, measuring skulls, whipping out the calipers, determining her blood quantum, bla bla bla.

    That's right -- hot chicks who resulted from multi-racial mixing are no longer allowed to be featured for their hotness. The "Lady Marmalade" cover (and original, of course) were back when "multi-cultural progress" would be indicated by people getting hotter and more racially ambiguous. A cultural and genetic melting pot leading to improved health and attractiveness -- eugenic, not dysgenic.

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  38. Every mainstream liberal music video was like this back then. I already mentioned "A New Day Has Come" by Celine Dion. Just watched the video for "The Game of Love" by Michelle Branch and Santana, and it's from this mold as well.

    https://www.youtube.com/watch?v=HKLnmMacEB4

    And like "Lady Marmalade," a nicely timed y2k-era throwback to the '60s and early '70s, especially the little details like Michelle Branch's boldly striped form-fitting pants. Very Mod, and like the pair that a college-aged Hillary Clinton was sporting in a now-viral photo shoot from good ol' 1969:

    https://www.life.com/people/life-with-hillary-portraits-of-a-wellesley-grad-1969/

    Why can't libtards even make a Powerpoint slideshow with pictures of the good ol' days like that for the DNC? Cuz that would be, boo hiss, backward-looking, not forward-looking. Even one image of the good ol' days will remind people how much American society sucks these days compared to back then, and how much worse it's only going to get looking forward.

    "The Game of Love" is a mellow outdoor cafe seating jam, not a funky danceclub anthem like "Lady Marmalade," so they could've run the gamut playing these two songs. But it would just short-circuit the libtard brain of 2024, especially since it would be a Millennial brain.

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  39. On the liberal shift from eugenic to dysgenic art, how could the DNC possibly have included a performance of "Lady Marmalade" in 2024? By going the route of the Paris 2024 Olympics opening -- the bodies displayed would have to be morbidly obese, stricken with vitiligo, and/or flaming homo uggos wearing women's costumes in true Buffalo Bill fashion.

    The most repulsive, anti-natural, anti-heterosexual, and therefore mediocre boring and sense-dulling -- but in that distinctly and intensely Puritanical manner, where the point is to punish the audience for having libidinal expectations, crucially the sin of lust, and now they're being sent to Hell to be tortured by goblins and demons in order to punish their sinful nature (not to reform or rehabilitate them).

    Back in 2001, liberal entertainers fed and fueled their audience, they were pro-audience and pro-aesthetic. As of the woketard 2010s, and continuing even today, they are anti-audience and anti-aesthetic, to the point of viewing the audience as irredeemable sinners requiring eternal punishment by anti-aesthetic goblins.

    But people will never vote for their self-appointed moral arbiters, who are merely Satanic torturers looking for some moral pretense to indulge their sadism and societal corrosion.

    The Puritans then double-down on their callous punitivity, and declare that it's irrelevant if the people vote for them or not -- they're going to wage this holy crusade, whether the sinning masses want it or not. "It's called BEING A DECENT FUCKING HUMAN BEING!"

    But this moral masturbatory fan-fic eventually, and quickly, collides with reality, where power, authority, legitimacy, and influence are all socially constructed. If the people don't agree that the crusaders are just, they will not obey their orders, and the crusade will not be carried out in any area that is not already totally controlled by the crusaders. In the libtard case, newly made mass entertainment.

    But that doesn't change the behavior of the masses, who tune out the callous and clueless crusaders, and consume pre-woketard mass entertainment instead, as in the current '90s / y2k revival among Zoomers.

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  40. This goes for any attempt to steal the 2024 election, as they did in 2020. Everyone saw the ballot counts being halted in a dozen battleground states on election night, with results not being announced until days, weeks, and months after the election was already over.

    No, this was not like the 2000 election, which was about a recount -- the results were in on election night, and the protracted debate was over whether those results were totally accurate or not, hence a recount. In 2020, none of the battleground states even reported their results on election night.

    You only stop the processing of ballots when you're behind, not ahead, so everyone realized this meant the Democrats lost with voters, and were now busy stuffing the ballot boxes, figuratively or literally.

    Once this realization clicked, they refused to grant legitimacy and authority to the incoming usurper administration. And indeed, every direct and unequivocal order that the Biden admin thundered at the citizenry -- like our patience is wearing thin with the unvaxxed -- went totally defied, with zero consequenes for the defiers. Cuz the admin lacked authority, and couldn't punish the defiers.

    Back when our elections were not stolen, like as recently as Obama, there was no mass defiance and non-compliance. When Democrats rely on stealing, they will discover, as already under Biden, that it's not a cheat code to controlling society -- we saw you cheat, we refuse to grant you authority, therefore you have no ability to enforce your orders, go suck it.

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  41. Biden also lacked authority and legitimacy among Democrat voters, since he was only the nominee due to the party elites shutting down their primary election before Super Tuesday would have schlonged Biden for good.

    He'd already badly lost the initial 3 bellwether states of New Hampshire, Iowa, and Nevada, and Super Tuesday would've ended his candidacy for good. So the party elites simply erased all the voted-for candidates from the ballot, and whaddaya know?, when Biden is the only choice, he wins the nomination! Such baldfaced election-stealing, even when those robbed were hardcore Democrat partisans.

    That's why Biden has had even less authority than if only Republicans were non-complying, as though this were merely the Tea Party on steroids. Nope, Democrats remember why he's there, too, and they don't follow any of his orders that they didn't already want to. Same with Indies.

    Harris, if she winds up in the White House following another election where results are not in on election night, will enjoy even less legitimacy than Biden. She received 0 votes in the 2024 primary. Although Dems were happy to dump Biden -- since they already rejected him at the ballot box in the 2020 primary, before it was shut down -- they didn't necessarily want this particular Democrat, Harris, to replace him. After all, they decisively rejected her as well at the ballot box -- she got 0 delegates in 2020, and dropped out *before* the election was shut down.

    Some mainstream media outlet recently said that Pennsylvania is warning the nation that it's going to steal the vote from Trump again in 2024, with the wording being "the results may not be known on election night" -- well, they would if it were legitimate. So that means they're planning to steal it again, through the Philly machine.

    They may decide to back off, Trump may torpedo his campaign so that stealing is not necessary, etc. But as of now, at least in the battleground state of PA, Dems are preparing to double-down on illegitamacy, powerlessness, and provoking higher levels of defiance and non-compliance from the citizenry.

    It's crazy that more and more piles of cash get spent on a contest for who can have the least amount of power, the greatest levels of non-compliance, and so on. That says it's mainly about status -- nominal, titular, de jure status, not de facto influence and authority.

    As long as libtards are aware that they're playing for titular status only, OK. Just don't expect de facto governance, or you'll be in for an even ruder awakening than the Biden term! ^_^

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  42. The polls have never been faker than this cycle. What first tipped me off to the coup against Biden, way back in Dec 2023, was the uniformly pro-Trump results of the polls. In 2016 and 2020, the polls never favored Trump, on average. And yet, that all changed in the fall of 2023, which I noticed immediately -- and none of the midwit commentators on Twitter and elsewhere did.

    These pro-Trump polls continued right through the summer of '24, which was even stranger -- not just a fluke of fall '23. The media were intent on hyping up Trump -- or was it, hammering against Biden? Well, we saw which one -- they were cooking these polls to grease the skids for the coup against Biden circa the DNC of summer '24.

    Not that there's anything wrong with polls saying voters favor Trump over Biden -- already true back in 2020, and with 4 disastrous years of the usurper administration, only more reason to favor Trump over Biden.

    But the media isn't supposed to say that, let alone in such a uniform and never-ending fashion. They're supposed to say, "Trump is going to lose", to delegitimize his campaign and/or admin if he takes office. That's the media's contribution to the Democrat struggle for power -- releasing polls to shape a narrative about nobody wanting a Republican, especially that specific one.

    Anyone who didn't notice this 180 in the polling, and offer the only logical explanations, is discredited from commenting, analyzing, or opining on the rest of the 2024 election cycle.

    Now that Biden has been successfully couped, the polls instantly swung around to favoring Harris, another apparent 180 -- but really just reverting to their modus operandi of over-hyping the Democrat and saying no one voted for the Republican, now that the coup target has been removed.

    Before Biden was couped, the RCP average had Trump up by 3.5 points, and he'd almost always been up by 1.0 or more, back to last fall. Even before then, back to fall of '22, Biden almost never cracked a 1.5 point advantage in these polls. It took the better part of 2 years for the polls to shift 5 points toward Trump / away from Biden.

    And yet we're supposed to believe that there's been a sharp massive 5-point reversal in just a few weeks -- despite Trump not doing anything to torpedo his campaign, and despite Harris not doing anything to gain more favor from reluctant voters (not already loyal Democrats). She hasn't done interviews, debates, or anything else of a spectacle nature that would bring more attention to her, and wow the wary indies. Even the bread-and-circus of the DNC was boring.

    In these hyper-partisan times, a 5-point reversal is huge, and it doesn't happen in a few weeks over no changes in the campaign. If you didn't like Biden, you're not going to like Harris. If you were already going to vote for Biden, you're already in the Harris camp. Literally nothing has changed, other than the Democrat is not visibly senile anymore.

    But that's not a major issue for the electorate, as he was already super-old in 2020, and voters are voting for an administration not a single president, and are making a referendum on the past 4 years -- and those past 4 years have been awful. Harris shares the blame for the awful state the country is in, since she's the VP, not some random uncontaminated Democrat outside the White House or Washington.

    Along with the recent notice on Twitter that Pennsylvania's election board is warning that results may not be available on election night -- which they must be, to be legitimate, and will only be absent if the losing Democrat party is trying to cook the books yet again -- this risible reversal in the polls indicates that Democrats are pushing full steam ahead on stealing the 2024 election, just like last time.

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  43. Tellingly, there is no tracking poll this time around. Those are the only halfway reliable gauges of changes in public opinion -- comparing snapshots over time from entirely different samples is baseless.

    Andrew Gelman et al at Columbia demonstrated this way back before the 2016 election, having conducted their own tracking poll for the 2012 election. Turns out, by summertime, most voters are pretty sure who they're going to vote for.

    The apparent changes due to debate performances, etc., are statistical illusions due to response bias -- when team A does well in a big media event, their fans are fired up and eager to respond to pollsters, while team B's fans feel demoralized and eager to hole up in a security blanket for awhile rather than tell pollsters they are voting for the team that just blew it during a debate.

    This inflates the change in public opinion, favoring whoever won the big media event. Not that there's no change due to these spectacles, but they're far less pronounced in degree than the picture given by the invalid methodology (comparing snapshots from different samples), and often invisible.

    Only by recruiting a nationally representative probability sample ahead of polling, and maintaining this same sample throughout polling, can reliable changes be measured over time. It's not a change in who feels like opting in to the poll -- it's a real change in a representative picture of the electorate.

    In 2016, only two polls were tracking polls -- USC / L.A. Times and IBD / TIPP. Both of them saw what the others missed. The RCP average at the end was Clinton +3.2, whereas the IBD poll only had her at a meagre +1.0 nationally. The USC poll had it at Trump +3.0 -- over-stating his advantage, but still revealing so-called last-minute momentum in his favor. (In reality, these people were probably not undecided until the last minute, but just tepid Trump voters all along, rather than hardcore Trump voters all along.)

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  44. Both of these polls were targeted in the wake of the 2016 Trump victory, not for their inaccuracy -- they were the most accurate and insightful of the bunch -- but for their role in refusing to delegitimize Trump. The whole point of polls is to say everyone wants the Democrat, nobody wants the Republican, and these two accurate polls were hammered for vindicating the Trump side, and for embarrassing all the other polls, revealing them to be mere propaganda tools rather than honest attempts to measure reality.

    By 2020, both tracking polls were hijacked by who knows who. Their final predictions were no different from the rest of the polls, even though tracking polls must be noticeably different from "comparing snapshots of different samples" polls. And superior to those crappy-method polls!

    The final result was Biden +4.5, and that's after all of those millions of votes that were 99% Biden that rolled in every night for days, weeks, and months after the election was already over.

    But the polls were even more laughable, where the final RCP average was Biden +7.2.

    The IBD poll was less insane than others, putting Biden at +4.0, in a 50 to 46 prediction. If the remaining 4% were wary Trump respondents, since there's no reason to disguise voting for Biden, and there were no 3rd party candidates, this poll might be pretty reliable, suggesting an even 50 to 50 prediction.

    However, by 2024, IBD is no longer sponsoring the poll, which has moved to Issues & Insights, a recent website started by the fired editorial board of IBD. However, the poll is NOT a tracking poll this time around. The media finally silenced one of the few dissenting voices in political polling. Now it's just another "comparing snapshots of different samples" bullshit poll, indistinguishable from the others.

    The USC poll was hijacked even by 2020, as their final prediction was Biden 54 to Trump 43, a laughable Biden +11.0 prediction. Even assuming the non-responses were wary Trump voters, that's still a 54 to 46 prediction, or Biden +8.0 -- that is, MORE insane than the other bullshit polls that RCP relies on.

    Well, after being gutted and turned inside-out in 2020, in '24 the USC poll is not even being conducted in any form whatsoever. Merely giving the approved answer in 2020 was not enough repentance for their 2016 crime of telling the truth. So they had to be eliminated altogether.

    And so this season, all polling is just unreliable pro-Democrat propaganda, as the media cartel has finalized their retaliation against the only two redeeming polls from the embarrassment of all embarrassments, the Trump 2016 victory.

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  45. Although most voters -- hell, even most political media junkies -- will not be aware of this change at the level of overt conscious detail that I've just uncovered, they will still be able to tell that something reeks about the polling this time. They don't swing that much over nothing.

    And they'll go by more reliable indicators, like are 10 battleground states going to have no results on election night, and continue adding to the Democrat margin for days, weeks, and months after the election is already over, for a second time.

    Clueless insulated self-appointed experts think that these lies are like a cheat code to achieve the desired result -- but they aren't going to make election thieves richer or more in control of the population.

    Again, just look at the past 4 years. Even Democrats have become poorer, paying inflated prices, with no concomitant rise in income -- and lay-offs across the board in their sectors. And the general public has given the middle finger to the usurpers, making the nation ungovernable from the central state layer.

    Not that that's going to stop them from doing the same this time, apparently. But just rest assured that even if they input the cheat code for a second time in a row, it will fail yet again to give them the infinite HP, full ammo, and ability to walk through walls, that they were delusionally hoping for.

    They will only get nominal, titular, de jure status, not effective increases in wealth, power, or influence. And they will further decentralize and fracture the central state and national / imperial institutions broadly.

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  46. Perhaps the reason why tracking polls were prohibited this cycle, is that the cartel had planned for two ridiculous things that tracking polls based on a probability sample would show to be false.

    First, a probability sample -- even just one snapshot -- would never show Trump +3.0 nationally, let alone steadily. Trump lost the popular vote in 2016, and those were far more favorable conditions. It's more of a struggle this time, so no way would a representative sample show him at +3.0.

    Second, a tracking poll -- even if the sample were not representative, but also if it were -- would not have the sharp jerking reversal after the coup that the media cartel were not only aware of ahead of time, but preparing to actively participate in it, with all the calls from media figures / institutions for Biden to drop out.

    No matter where a tracking poll started and ended up, it would never make this huge reversal over a relatively minor issue like "particular puppet is no longer senile," when voters are thinking about the admin as a whole, and making a referendum on it / looking toward the future admin as a whole.

    A tracking poll over this summer would look pretty flat, maybe a wiggle here or there, but nothing major has happened, as far as the mass electorate is concerned (political media junkies who get paid / farm clicks based on hyping up the week-to-week minutiae are not even a drop in the bucket of the electorate).

    So, both elements of the media narrative would've been discredited by a representative tracking poll -- the anti-Biden bias of the polls from fall '23 to summer '24 (in order to coup Biden), and the sharp reversal favoring Biden's replacement from summer '24 to election day (to grease the skids for the Second Great Ballot Count Stoppage).

    None of this is clever, it's the laziest cheat code ever -- and will fail just as spectacularly as their last attempt at a cheat code. They are poorer, more unemployed, and have even less persuasion power than during the Trump term.

    But maybe all they care about is that nominal, titular, de jure status, so they can pad their resume with meaningless titles, in a status contest. As long as they aren't delusional about what these meaningless titles mean -- or rather, don't mean.

    The Houthis, Hezbollah, the Taliban, Russia, and China sure didn't care about them! Stolen titles won't invade and control a foreign nation or economy. In fact, they only invite further defiance and aggression from foreigners, who plainly see what's going on here, as they have no interest in lying on behalf of American Democrats.

    Sucks for the status-climbers!

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  47. Some parts of the British elites are beginning to turn against mass immigration, if these articles are being published in Britain's mainstream media:

    https://www.telegraph.co.uk/news/2024/08/23/britain-needs-a-shock-and-awe-campaign-of-mass-deportations/

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  48. Notable that the L.A. Times, the only decent big city media institution in America, was not involved with the laughable USC tracking poll in 2020, when it got hijacked by the cartel. Only in 2016, when it told the truth.

    So either the LAT got bullied out of poll sponsorship, as punishment for their brand being associated with the Trump vindication poll in 2016 -- or the LAT board got wind of this poll being hijacked in 2020, and decided to preserve their integrity by withdrawing their brand sponsorship.

    Either way, good ol' L.A. Times -- not part of the East Coast propaganda network (contaminated by its proximity to the financial and political capitals, whose behavior it exists to rationalize). Seriously, credit where it's due.

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  49. So if the Christians retained control over Syria and Mesopotamia and Anatolia and Persia and Islam only had control of Egypt and Arabia, then we could have possibly seen literal Palestinian Talmudic Jews develop in the Middle Ages.

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  50. Christians didn't control Mesopotamia and Persia -- they were state-sanctioned by the Zoroastrian ruling elite of the Sasanian Empire, and then protected as Abrahamics by the Muslim Abbasid Caliphate. They were widespread, influential, and probably prospered as urban merchants, but they were not in control of that territory.

    But the fact that so many adopters of Judaism hailed from places that had already seen the spread of Christianity, even if the ruling elite weren't Christian, still means the Christians were powerful, wealthy, and influential -- just not quite at the ruling elite level. Otherwise, no reason to opt for a Third Way.

    Christians in the East were not some random low-status niche religion, they were a big deal, even if not the biggest deal (Zoroastrianism, then Islam, as well as Buddhism in Tang China).

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  51. Time for some Oak Park, Illinois posting. Adjacent to Chicago, and the birthplace of American architecture, with lots of Frank Lloyd Wright buildings still preserved.

    And ground zero for what would evolve into Brutalism -- Wright's Unity Temple (Bronze Age / Dark Age fortress with few windows, and those at clerestory height, geometrically minimalist but with varying scales of shapes and volumes, made from concrete poured on site with the aggregate exposed and originally with the woodgrain impressions from the formwork). Built in 1905-'08, it was over 50 years ahead of its time. Wright later built the Brutalist Guggenheim Museum (in NYC) in the late '50s, and even that was 5-10 years ahead of its time.

    Their city hall -- called the Village Hall -- was built in 1975 by Harry Weese, a Chicago architect featured earlier in this comment section, for the First Baptist Church in Columbus, Indiana (most well known for the DC Metro).

    It's a nice example of Midcentury Modern, and stands out for its very long and high-rising air-bridge entrance, which threads its way through the openings of 4 huge pylons. Not just like a Dark Age drawbridge, but having to pass through 4 narrow gates, portcullises, etc. along the way. Or the narrow gate between massive pylons in a Bronze Age Egyptian temple complex. Very cool -- and very American, channeling the Bronze Age and Dark Age, not the Classical or post-Dark Age Olde Worlde.

    Lots of images in the slideshow at the end of this overview:

    https://chicagomodern.wordpress.com/2012/04/24/oak-park-village-hall-learning-from-saynatsalo/

    In 2023, the city council floated the idea of totally demolishing the building, to make way for a whole new larger building. Immediately the community piled onto them, saying no way, this is a historic building (literally on the U.S. National Register of Historic Places). And so the council backed off, saying maybe they can just do a renovation of the existing building and build a new separate building for the police station, which was housed in the basement of the existing building.

    As of this month, over a year later, that still seems to be the plan:

    https://www.oakpark.com/2024/08/01/oak-park-village-hall-remodel-plans-cost-concerns/

    If this were back East, the Village Hall would have been desecrated into oblivion by now. But out West, on the foundational meta-ethnic frontier with the Indians, the birthplace of American ethnogenesis is not going to just let some bureaucrats destroy their community's heritage just so they can dole out some patronage to the demolition & construction cartel.

    Back East, these bureaucrats would have the majority of local residents supporting them, as they clamor to join the future -- AKA bland boring ugly steel-and-glass boxes -- rather than be weighed down by the past -- AKA dynamic exciting and distinctly American styles. But the residents of Oak Park choose to live there for a reason, like the historical connection to the very birth of American architecture. And the Village Hall was built by a local Chicago architect!

    I don't think it's just cuz the building is not made from concrete, and so appears more Midcentury Modern than Brutalist. They've kept the Unity Temple, which gave birth to poured concrete with the aggregate exposed and woodgrain formwork impressions. Ditto for the contemporaneous Scoville Park Fountain, also by Wright, also in Oak Park (original deteriorated, but was replaced with a faithful replica, not something ugly and ahistoric).

    And back East, it's not just Brutalist buildings that are bulldozed -- anything from our empire's Midcentury heyday is on the chopping block as well.

    Chicago is no longer the epicenter of American ethnogenesis -- it shifted out West along with our expansion, and contact with the Indians, and later the Mexicans. It's now in Southern California. And while Chicago does not have the extreme degree of devotion to conserving American architecture that the L.A. Conservancy does, it is still in a league of its own compared to anywhere back East.

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  52. Now for some slight bad news, well, 25 year-old bad news, in Oak Park architecture. I saw a pic of the Oak Park Public Library, and thought that's too contempo to be the original one. What happened to it?

    In fairness, the current one could look worse. It has a zig-zag waving roofline (a partial homage to Midcentury Modern and Googie), some contrasting light and dark colors, and contrasting materials. But still too far in the warped angles direction of Postmodernism and Deconstructionism. Sure enough, built in 2003.

    https://i0.wp.com/www.oakpark.com/wp-content/uploads/2024/03/Oak-Park-Library-2_By-Javi-scaled.jpg?resize=1024%2C768&quality=89&ssl=1

    There's nothing wrong with some asymmetry, variation in the volumes that are assembled together, etc. -- that's the core of Romanesque. But the '90s and 2000s approach to this is to just throw things together in a wacky way, rationalizing it as "off-kilter," "quirky," "irreverent," or some other fake & gay buzzword.

    On a gestalt level, I'd say it has no harmony or order or synergy or coherence among the varied volumes. Their separate energies just dissipate and fall flat, like they're not playing separate voices in a symphony, just each doing their own thing, and even these individual things are not very exciting on their own.

    In Midcentury Modern buildings, like the Oak Park Village Hall, the varied volumes play well with each other, they're interconnected, harmonious, feeding off of each other and feeding into each other, I don't know how else to say it. Like those pylons functioning as support columns for the roof, as portals through which the air-bridge passes, and as a little ornamental flair in being oriented somewhat diagonally, not perpendicularly to the air-bridge.

    THAT is what eccentric, off-kilter, etc. is for real -- it assumes that the overall orderliness and harmoniousness is still achieved, despite the difficulties of doing so with off-kilter etc. elements.

    Just like you'd describe me as eccentric, off-kilter, etc. -- cuz I'm one of the smartest and most insightful and original thinkers you'll ever come across (not to toot my own horn, just sayin' what you guys think about me, I think I'm a total normie from my own POV). If I contributed nothing, just another clueless ignorant liar midwit on the internet, buzzwords like "eccentric" would only be shameful branding attempts, not real praise for thinking outside the box.

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  53. In fact, the slapdash, erratic, piecemeal assemblage of volumes reminds me a lot of the McMansion. Some of them are just a Romanesque revival, if they have harmony among the forms. But usually they don't, and that's why everyone hates them aesthetically.

    Well, after the McMansion of the neolib era came the McModern of the woketard 2010s:

    https://www.cbsnews.com/media/10-mcmoderns-that-are-taking-over-from-mcmansions/

    Those are not what Midcentury Modern homes (or other buildings) looked like, they're just taking the slapdash non-synergy-producing exaggerated wacky impotency of the McMansion, and giving it a Modernist skin.

    This McModern approach really began back with Postmodernism and Deconstruction in the '80s and into the '90s, in buildings that are larger-scale than single family homes. Like the Oak Park Public Library from the early 2000s. It took a little while for that to trickle down to single home construction, but it did.

    Oak Park approved the total demolition of its existing public library in 1999 -- ahead of its time in a bad way, since the real wave of demolishing Midcentury buildings was the woketard iconoclasm of the 2010s.

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  54. So what did the previous library look like? In true iconoclastic fashion, they have erased every single photograph of it from the entire internet. That means it must've been better -- otherwise they'd brag about the new one in a "before and after" comparison, like aren't you glad we got rid of that in order to get this?

    It was built in the mid-'60s, expanded in the '70s, and lasted through 2002 when it was demolished. Strange, 40 years of existence, with no photos available anywhere. You can try any image search terms you want, you won't find any photos of it. If only it had been demolished during the 2010s, there might have been some 2000s-era photos of it on Flickr.

    However, I did manage to eventually track down some postcards of it -- close enough to a photo. These are the only images of it on the entire internet.

    From 1964, right after opening:

    https://i.ebayimg.com/images/g/EtkAAOSwA6hj4xpa/s-l1600.jpg

    Later (less saturated) image, perhaps from the '70s, with Modernist sculpture to the side of the entrance:

    https://storage.googleapis.com/hippostcard/p/a41698267615bdadab37056818f81004-800.jpg

    So, not exactly a wonder-work of architecture, but still a fine example of Midcentury Modern, and way better than what it was demolished to make way for. There's more of an alternating rhythm among the varied forms and materials and colors, and a harmonious balance in the proportions. Not exaggerated, wacky, warped, etc. in the lines. Nothing slapdash or thrown together piecemeal about the assemblage. And still distinctly American, maybe even an homage to the Prairie School that originated in the area.

    I'd call it "neat" rather than "very cool" like the Village Hall -- but not every building is going to be very cool. And when the creative juices have left the system, you have to preserve what is "merely" neat -- cuz the alternative is something that is at best ho-hum, or sucks, or is downright disgusting and enraging.

    There was yet another, initial library in Oak Park, a Romanesque building from 1888 (at first the Scoville Institute, for subscribers only, then the Oak Park Public Library from 1903 until the 1960s replacement). And photos of it are easy to find through image searches, e.g. here with the full story of its history:

    https://www.oakpark.com/2013/10/01/the-librarys-long-legacy/

    It's a decent Romanesque revival building -- not a McMansion -- and in reviving Romanesque rather than Gothic or Classical, it's distinctly American (focusing on the Dark Ages). But it still is just LARP-ing as some other time-and-place's culture, rather than doing something uniquely our own.

    This selective erasure of our society's Midcentury peak, while clinging to Victorian-era LARP-ing and hyping up contempo garbaggio, is a very broad phenomenon. So much that it often requires hunting down postcards to see what peak Americana looked like.

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  55. And to end with something more political, but based, in Oak Park news, its sole public high school -- a high-performing one, since most residents are affluent -- has bucked the nationwide trend of cracking down on anti-Zionist / pro-Palestinian sentiment.

    At the Ivies, NYU, etc., Jews have gone insane after Israel decided to commit suicide by cop and just blindly lash out at Palestinians, Lebanese, Iranians, Yemenis, etc. as it crumbles from within, in the wake of the Hamas attack last fall.

    Sure, there's always a minority of Jews on campus who are fervently anti-Zionist, and this minority has gotten larger with successive generations. But they're still not the mainstream, as shown by all the crackdowns.

    And certainly you don't need to be Jewish to be a pro-Zionist war-loser, our entire collapsing federal government and our cucked-by-the-Taliban-and-the-Houthis military is pro-Israel. University adminstrators who exist to rationalize the behavior of the elites, have no problem cracking down on anti-Zionist protesters, as opposed to given free rein to the BLM and Antifa riots of the mid-2010s and 2020. One was approved by the CIA and FBI and Pentagon -- the other was not.

    Well, the same group of wealthy liberal Jews tried to bring this crackdown to Oak Park's high school, since it's something of a pre-Ivy. But there have been no encampments, protests, etc., let alone violent ones. Just some staff member posting on his Instagram account that what's happening to Palestinians is genocide, and the same colleagues of his who look the other way on this, would have looked the other way on chattel slavery in the Deep South, etc. And a MENA student club, which probably hosts Palestinian events of various kinds.

    And rather than accept this flagrant attempt to suppress free speech, the school administration has given the Zionist whiners the cold shoulder -- now up to the point where a fanatic Zionist teacher of many years has resigned in protest! Sayonara, sucker:

    https://www.oakpark.com/2024/08/02/oprf-set-to-release-plan-addressing-antisemitism-accusations/

    When I saw the sub-head, I thought the admin had fired the teacher who said Palestinians are experiencing genocide -- but no, the guy butt-hurt over Lebanon annexing northern Israel was the one who left!

    Good for Oak Park, for standing up to another corrosive trend in contempo American society!

    I don't live there, or in Illinois at all. Just doing some architectural research, and couldn't help but notice how much better it is than its counterparts back East. Oh God, how much anti-Zionist activity are they suppressing in Brookline, MA or Bethesda, MD? It must be crazy back there right now.

    Good ol' Midwest, the semi-reliable guard against East Coast sickness and insanity.

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  56. Another hidden gem discovered through image searching for postcards. A Midcentury Modern / Brutalist library in Enid, Oklahoma, built in 1964. Note, as usual, the effort to make the surroundings as Edenic and pastoral as possible, despite it being in a "city" -- the 9th largest city in Oklahoma, with only 50,000 people today.

    https://i.ebayimg.com/images/g/stgAAOSwoa1h3PXL/s-l1600.jpg

    Unlike Oak Park's public library, this building is still standing in all its peak Americana glory! That's what closer proximity to the meta-ethnic frontier against the Indians and Mexicans gets you.

    Some photos toward the end of this photo-review of Midcentury Modern buildings in Enid (and a second post with more on the same theme):

    https://okcmod.com/2014/05/how-much-mcm-architecture-can-one-town-have-an-tour-of-enids-architectural-marvels/

    https://okcmod.com/2014/06/how-much-mcm-can-one-town-have-a-tour-of-enids-architectural-marvels-part-2/

    Like Oak Park, there was an older building (a Carnegie library, built around 1910) that had fallen into disrepair, and was demolished in order to make way for a more distinctly American style during the Midcentury.

    Because Enid has not iconoclastically demolished their Midcentury library, there's no need to erase all photographic traces of it from the internet, as Oak Park has done with theirs. Very easy to find multiple photos of it, from the time it was opened through the present day. They're not ashamed of peak Americana!

    Again note the lack of wackiness, chaos, falling-apart / blowing-up, haphazard / slapdash / piecemeal assemblage. There's symmetry, repetition, rhythm, proportion, balance, harmony, texture, color -- everything! It's not rocket science... unless you're from the '80s and beyond, when it becomes impossible.

    Enid is not so far away from Tulsa, where Oral Roberts University is located, the most Midcentury Modern religious complex in the world. Tulsa is also home to tons of Art Deco from its oil-rich heyday. Check out the VFW in the first post from OKC Mod -- straight out of the Jetson's. And Enid is an agricultural city, relying on heavy wheat production.

    Pentecostal churches, veterans, oil producers, and farmers -- famous lovers of Modernist architecture! Ditto for John Deere (agriculture meets manufacturing), the Cummins manufacturers of diesel engines from Columbus, IN, and so on and so forth.

    Only libtards in cerebral professions on the East Coast hate Modernist architecture, insecure when they compare themselves to what they believe are their Olde Worlde superiors. Sad!

    Once you break out of the East Coast swamp, it's American as far as the eye can see...

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  57. The Aquanator is really going to graduate from Hololive... truly the end of an era, the Manic Pixie Dream Girl era.

    Right on schedule, though. We're in the final year of a restless phase of the 15-year cultural excitement cycle, the phase where such cultural figures always spring up. I knew they would appear in the streaming medium, way back in May 2020:

    https://akinokure.blogspot.com/2020/05/manic-pixie-stream-girls.html

    But that was before vtubing became mainstream outside of Japan, so I was going with face-streamers. I correctly predicted Pokimane would play a MPDG role, but since there were no English-language vtubers, I had no idea about the Goobinator playing such a role as well -- and several other Holo honies, like Iwys, at various points in their career.

    I had zero idea about Japanese streamers, either face-streamers or vtubers.

    If Japan is on the same 15-year excitement cycle as we are, then I'll bet Aqua was born in a manic phase (1995-'99), like the other MPDGs.

    In this final year of the MPDG, they're getting a little restless themselves. They've done all the fixing and nursing and encouraging they can for socially wary men. Now they feel like some time to be themselves.

    500 Days of Summer was from 2009, the final year of the last restless phase (2005-'09). What kind of wordplay could we do with Aqua...? 500 Colors of Aqua? Hehe. Not "Shades" -- that would give an unwanted connotation.

    Pretty soon, in the upcoming manic phase (2025-'29), it'll be about former MPDGs setting themselves free -- like Ruby Sparks and Her, both from the 2010-'14 manic phase. Or "Girls Just Wanna Have Fun" from the early '80s manic phase.

    With Aqua graduating and Gooba being partially retired, that mainly leaves the seiso Nephilim princess on the EN side, and IDK who on the JP side. The Koronator? She was probably a MPDG during the last restless phase, in the late 2000s, but is reprising the role in the early 2020s -- a testament to her enduring free-spirited and fun-loving nature. ^_^

    I don't know what else to say now. Just trying to distract my brain from Aqua's graduation by intellectualizing it.

    I was one of the over 100,000 people tuning in live to her final zatsudan earlier, even if I couldn't understand much on-the-fly (I'll rewatch with CC's later). Just wanted to hear what emotional state she was in, and get to spend a last hour or two while it was still possible.

    She really is a unique treasure, and it's not just her male audience who's torn up over her graduation. Many of her female colleagues have broken down into sobbing live on stream while trying to convince her not to go. She was an inspirational guardian angel to them, as well as to her fans. ^_^

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  58. Man, I had nooo idea how hard the Aquanator's graduation was going to hit me, right up until she sang "Aqua-iro Palette" live for the finale and she started sniffling and crying. I was already hit pretty hard yesterday, watching Pekora break down sobbing trying one last time to convince Aqua not to graduate, but having to let her go anyway.

    I'm still shell-shocked, haven't been able to think about anything else the whole day. Can't feel strongly about anything else either.

    The only therapeutic activity so far (other than the occasional big sob) has been singing out loud to Sad Seventies songs, well some from the '90s too. It takes you out of your individual private brain and lets you join a larger public spirit. The worst thing to do is stew in your thoughts, ruminate, etc.

    And singing requires some degree of focus and effort and skill -- you can't be too mired in your feels and sing properly. It's not like giving yourself busywork just to occupy your attention, cuz you can always put that down and remind yourself it's not really necessary. But when some iconic song starts playing, you're being ordered to pay attention to it and sing along to it. You don't have a choice, and it's not supposed to be utilitarian or practical in the first place, so there's no gnawing awareness that you're really just trying to distract yourself with pointless crap.

    And playing other songs makes it easier to not have "Aqua-iro Palette" running repeatedly in my mind, which it has been.

    I've never been so knocked out by a cultural figure retiring before. It's not like a retirement or even a death years or decades after their best work. She was still capable of going on fire for the past several months, including her final stream of them all. The only other time I've been plunged into such a daze was when Kurt Cobain shot himself, at the top of Nirvana's fame and with seemingly no reason to do so.

    Other than deaths of family members and pets, I don't do big sobs. I'm not depressive (or else I'd be on Twitter instead of Blogspot). Never took anti-depressants (or any meds).

    She's just such an uplifting precious angel who's being taken away from the vast community -- and from the intimate colleague circle -- that she was a crucial pillar of. It's a tragic loss that we can never get over.

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  59. Is this what all modern fandoms are like? I never heard it get this intense about other scenes, when there's a loss -- a band retiring, a character written out of a TV show, an online celeb deciding to delete their account, etc.

    I think the reason is that vtubers are not a niche fandom -- not in Japan, anyway. She had over 100,000 people tuning in live for her final chatting stream, not to mention millions of others after the live broadcast was over. And although there's some confusion due to YouTube being all fucked up today, there were in the high hundreds of thousands, perhaps nearly a million, tuning in live to her musical graduation stream today, with many millions watching it later on in the same day.

    Those numbers are better than any sub-cultural niche fandom could do in America, or elsewhere outside of Glorious Nippon. Not to put too fine a point on it, those numbers would not happen for a Holo EN or Holo ID graduation stream. That's because anime, manga, anime songs, cosplay, illustration-looking video games, and vtubers are much more of a niche outside of Japan. And those media are insanely gatekept by deranged fanatics who want to keep the fandom small, niche, and if anything hostile to the mainstream and the dreaded "normies".

    All of those media are totally mainstream in Japan, which is how Hololive gets all sorts of sponsorships and cross-promotional deals and advertisements in normie outlets like the Tokyo metro system. It's channeling the spirit of all of Nippon -- and therefore, their vtubers have all of Nippon cheering them on, the entire nation piloting the talent's body as though it were a mere vehicle.

    This is what results when the fandom is positive, inclusive, and trusting -- rather than negative, excluding (not to say exclusive, since it isn't high-status), and suspicious. And Japan is far more cohesive of a society than America or most other countries, including in Asia.

    Aqua may have been employing humor when she recently described herself as the Legendary Idol Gamer Maid of the Galaxy -- but she is not exaggerating. Vtubers can become legends in Japan, and she has certainly joined the pantheon of Japanese culture.

    So when she leaves Hololive while still full of potential, it's not like some niche character in a mostly unwatched TV show is getting written out of the script. Her graduation was the #1 trending topic on Japanese twitter while it was happening. It's a period of nationwide mourning for the tragic loss of a national figure.

    Minato Aqua! Legendary -- Idol -- Gamer -- Maid -- of the Galaxy!

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  60. Japan is one of the least irony-poisoned cultures on planet Earth right now. That's not to say they don't practice satire, or make occasional sarcastic remarks. I'm talking about everything having to be buried under 17 layers of ironic detachment, mumbling, and not taking anything sincerely just to be le edgy.

    Irony-poisoned is given that name for a reason -- it's not called irony-enriched. It's a suffocating burden, a contaminating disease, a corrosive acid.

    It's one of the strongest signs of an inhibited and puritanical culture, like America in the 21st century. There's no greater principle to uphold than suppressing natural emotions, libido, and our animal instincts in general.

    Japan is the opposite, where those natural processes are allowed to unfold. They're empowering, not inhibiting. And they enable national cultural figures to feel like they're invincible, capable of achieving great things. So, just go for it! The rest of the team is there to cheer you on, not to inhibit you by casting sideways glances while putting your emotions under an excitement-detector.

    I'll write a separate post about puritanism and inhibition / repression later, but for the clueless / dum-dum / ideological right-wingers who think we're not puritanical (while no one is having sex), the point is natural vs. unnatural. Puritanism suppresses natural animal instincts. But because their energy cannot be extinguished, it is redirected or channeled into some other outlet -- therefore, an unnatural outlet, unwholesome, weird, warped, etc.

    The point of calling it "inhibition" is that there's a natural instinctual drive to do something, and if you want to prevent it, you need to inhibit it. You don't need to inhibit things that are unnatural or anti-natural.

    There is no such thing as a natural drive to masturbate, stick your dick up a butt / take a dick up the butt, present as the opposite sex, consume mind-altering drugs, and all the rest of the degenerate and decadent behavior we see in America today.

    They're called degenerate, deviant, abnormal, weird, etc. cuz there is no natural drive to do them. Therefore, they only result when some natural drive is being inhibited or repressed, and its energy is redirected into the deviant activity instead.

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  61. So in Japan, girls' natural libido is allowed to express itself, and they want to make themselves cute and pretty and appealing to boys -- as well as to make friends with other girls. Not that all expressions are the same -- some appeal to boys as an idol (like Aqua), others as a sultry siren (like Marine). But both of them are freeing their natural instinct to perform for an audience, and to get attention from boys by appealing to their natural preferences.

    That is the natural instinct of a girl who isn't yet married, and of a performer -- pleasing the audience, and deserving their applause and affection because they put on a great show.

    In a puritanically inhibited culture like America today, feminine charms -- of either the innocent or sultry type -- are inhibited and repressed, cuz that could lead to, horror of horrors, sexual intercourse. "You're glorifying the behaviors that could lead to SEX! You perverted monster, encouraging them right into the lions' den!"

    Even lustful feelings, without sexual activity, are repressed and inhibited, cuz they might eventually lead to sex. But sex is totally normal and natural, so this is inhibition / repression.

    Puritans don't care if lustful feelings are redirected into watching porn and/or masturbating, instead of toward actual sex. Cheap lip serivce means nothing -- the actual ruling elite of a puritanically repressed society like ours allows total proliferation of porn, and zero punishment of masturbation, or even discouragement of it. Meanwhile there are all sorts of severely enforced laws, social norms, and non-legal codes (like on college campuses) that police actual sexual activity.

    Not like there's no porn in Japan, or that they don't masturbate. But they have healthy natural outlets for their libido, even if it's not actual sex but sublimating the desire by joining the fandom of a cute cultural figure (whether one who shows her face, or is a vtuber, and whether she's innocent or salacious). They're like we used to be before the woketard 21st century, especially the 2010s and after.

    There's just nothing in our culture these days that serves as a natural outlet for natural desires, which is why they're redirected into unnatural and weird outlets, and why we're so damn neurotic these days compared to the '90s and earlier.

    Another well-deserved W for Glorious Nippon, and their cultural figures like Aqua and Marine that channel their natural desires, and that enable their audience to channel their own natural desires. What's so shameful about liking a cute girl who sings, dances, plays cool video games, and all without a drop of irony or antagonism toward the audience? That's healthy!

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  62. In case you need another playlist, what were those Sad Seventies and Nineties songs I was singing along to today?

    Barry Manilow -- "Mandy"

    Emmylou Harris -- "Making Believe"

    Captain & Tennille -- "Do That To Me One More Time"

    The Carpenters -- "Rainy Days and Mondays," "Yesterday Once More," "Can't Smile Without You," and "Rainbow Connection"

    I also listened to Irys' karaoke performance of "Can't Smile Without You," to keep it Hololive-y, and that led to me listening to Gooba singing "Lonely Is a Man Without Love" by Engelbert Humperdinck, and Moom singing "Operator" by Jim Croce.

    Charlie Rich -- "The Most Beautiful Girl"

    Prince -- "The Most Beautiful Girl in the World"

    Whitney Houston -- "I Will Always Love You" (originally '70s by Dolly Parton)

    Mariah Carey -- "Without You" (originally '70s by Harry Nilsson)

    Celine Dion -- "My Heart Will Go On"

    Elton John -- "Little Jeannie" and "Can You Feel the Love Tonight"

    Might have been a few others, hard to recall exactly when you're devastated. Lot of loud straining numbers in there, too -- might as well be voice-broken, if you're already mindbroken and heartbroken.

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  63. Forget to mention "Take a Bow" by Madonna (with Babyface), think that's all of them.

    I blasted "I Have Nothing" by Whitney Houston today, following up on "I Will Always Love You" from the soundtrack to The Bodyguard.

    I'll bet Millennials don't remember that being a soundtrack song, from a seminal soundtrack album, cuz the movie it's from is too multicultural and colorblind to register as a pop culture phenomenon to today's woketard audiences. But yes, The Bodyguard was the #2 grossing movie of 1992.

    Attractive African-American diva (back when they sang -- today they just rap, and the trend is in the same direction for white performers, as our culture has stagnated and collapsed), white male (attractive? IDK) bodyguard, begins as an odd-couple relationship, then something of an enemies-to-lovers arc emerges. And it being from the early '90s, has to have a thriller element (diva has a stalker, who the bodyguard has to protect her from).

    Couldn't be made in the 21st century -- she'd have to be fat, old, and ugly, stricken with vitiligo, in order to play the role, which would be a tedious moralizing valorization of ugliness. Her singing would also have to be crap, as part of the cult of crap and anti-art generally. She wouldn't be a precious national aesthetic treasure requiring protection, she'd just be some overhyped overweening-ambition mediocrity who needs her ego and DEI fake job protected.

    And he'd have to be an impotent non-threatening doofus dad, rather than a competent "hit-man but for the good side". He'd probably also have to be a male model, to lay on the moralizing extra thick about accepting her, instead of two attractive people finding each other and making eugenic babies, a la the multicultural "hot people of all races intermingling" content of the time.

    And his IRL actor would have to be gay, like Ryan Reynolds or whatever other white male hero leads are still allowed to work in Hollywood these days. Just to remind the actress, and the audience, that he's really not a toxic masculine threat, not being hetero.

    Reviewers at the time panned the movie, but I'll bet it's only so-so on a current re-watch. I remember it not being that great when I saw it, but not bad. Perhaps like most others who boosted it to the #2 movie of the year, I was mainly going for the classic soundtrack, though. Might have to watch it again soon...

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  64. Remake of The Bodyguard, but it's about a virtual idol in Japan, and the bodyguard is her mod who protects her from creepy superchats by long-term stalkers. No, it's something more real -- maybe he starts as a mod, but grows to become someone who physically protects her when she goes out to public places IRL, in case an online stalker knows what she looks like off-line and pursues her offline as well as online.

    That drives his character development, from an online-only techie mod, to an offline protector who has to be situationally aware of IRL spaces, apply his boxing or MMA skills to IRL instead of just practicing at the gym / doing fitness at the gym, maybe learn how to aim and shoot a gun IRL instead of just being good at FPS video games online.

    It begins with the bodyguard looking down on her individually, and her industry as a whole. "Why the hell do I have to get sent to protect *this* person, of all people? She's such an annoying diva, she's just an entertainer, it's not like she's the stoic Prime Minister of Japan, or a high-ranking tech titan."

    And she initially looks down on him, too -- "Who is this stodgy suit-with-a-gun, anyway? My savior? My knight in shining armor? Well I don't need that, I'm sure the stalker isn't a real threat anyway, just trolling online and sending the occasional creepy superchat..."

    Until a precipitating incident -- like a printed photo of her IRL selfie, left under her IRL apartment door, with the same distinctive creepy comments that he tries to send her via superchats. This makes it clear that the stalker is a genuine threat, making both sides realize that this is serious business, and they both need to cooperate and trust each other, to triumph over the antagonist.

    It ends with the stalker hacking her computer to crash her livestream, and then physically break into her apartment where she's streaming from -- actually, he's already broken into her apartment, and is hiding in her closet for the right moment. That's why the bodyguard didn't notice him during his extensive security sweep right before her big stream -- yes, it's a big-time stream, like a live solo concert, not just any ol' stream.

    He's shown heading toward the front door of the apartment, as though to leave her alone to her streaming activities. Then when the stalker bursts out of the closet to attack her, the bodyguard emerges from some side room of the apartment -- he didn't really leave, he had a sneaking suspicion that something was amiss, despite his thorough sweep, and decided to remain there JUST IN CASE.

    He ends up getting injured by the stalker, as he intercedes to prevent her from getting attacked, she is eternally grateful for his protection, and he is grateful for her allowing him to play a noble masculine protector role in our modern society.

    Then during her make-up stream the next week, since the first one was disabled mid-stream, she chooses something like "I Will Always Love You" to perform as the finale.

    And although the viewing audience cannot see, since she's a vtuber / vsinger, the bodyguard is right there in the streaming room with her, both exchanging eye contact during the tender soulful final song. That's what gives her the authentic IRL motivation, which the audience is only speculating about -- "Wow, this is really personal and intense! Hard to believe she's only a virtual talent..."

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  65. I mean an extensive security sweep of the building's interior and exterior and maybe the entire block it's on -- assuming no one was already hiding in the closet within her apartment, since there are no obvious signs of a breaking-and-entering.

    Bodyguards are usually sent to sweep the vicinity for nearby / remote threats, not the exact spot where the potential target will be standing or sitting.

    In fact, maybe as part of his escalating creepy stalker behavior, he disguises himself as a delivery man -- no, a FOOD DELIVERY man, which fits into her being a streamer who relies on Uber Eats rather than going outside for groceries.

    It's a bit of a stretch to believe he could actually sign up for Uber Eats, *and* receive an order from her. It would take too long, and no guarantee it would happen.

    So instead, he shows up to her front door, knocks, and says "One of the tenants down the hall ordered this meal, but left before I showed up... it'd be such a shame to throw it away, and I couldn't help but overhear you singing at the top of your lungs in this apartment, so I figured I'd try knocking on this door, before throwing it away."

    And she's at the end of a long, grueling karaoke stream, was already about to order food delivery anyway, so she's beaming with excitement over this apparent stroke of good luck!

    He pleads with her to use her restroom "real quick, won't take more than a second -- my schedule is so packed, they hardly let us use the restroom on the clock..."

    And since he's blessed her with this random act of kindness, she agrees to let him in, even though she's usually the suspicious type. The good luck has made her let her guard down.

    And while on his way to or from the restroom, he spies a spare set of keys, pockets them, and after thanking her for her kindness -- and she thanks him for his kindness -- he strolls right out out of the building with the means to enter later on, with no visible signs of breaking in.

    To establish that she's not the type of person who would immediately notice that her spare keys are missing, previously in the movie she is shown to be an absent-minded type, forgetting to eat meals, doesn't always answer her family's text messages, misplaces things and never finds them again -- and complains about it to the bodyguard, who reacts by thinking "Jeez, what a spoiled princess, who can't even take care of herself..."

    So the missing spare keys are not even noticed, and he easily enters her apartment well in advance of the big solo concert stream, and is already waiting inside her closet while the bodyguard conducts his last-minute sweep of the building's interior and exterior and entire block, having no reason to dig deep into the closet in her apartment for potential threats. No signs of breaking in!

    This stuff writes itself...

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  66. For extra creep value, he's shown coming up with this basic idea of disguising himself as a food delivery man, but can't act on it right away.

    He decides to monitor her livestreams until there's one day where she says, on stream, that she's dying of hunger, oh my gosh chat, I'm craving some specific meal sooo badddd -- I can't WAIT to order some Uber Eats when this stream is over!

    That's his signal that today is the day, and since he's stalking her streams, he knows exactly what kind of meal she is dying to eat, so she wouldn't possibly turn him away, and would actually be eternally grateful for this random act of kindness from a stranger.

    It couldn't be too specific of a meal -- otherwise it would look suspicious, like "Wow, did you read my mind? .... Were you watching my stream, and knew what I said I wanted????!!!! Creep!"

    Something vague like pizza, or McDonald's, or whatever. And so it isn't custom-tailored and suspcious, but something she's still grateful to receive for free and without having to wait.

    Then on his way out of her building, he's shown watching the rest of her livestream on his phone, or maybe the stream is over but she's posting about it on Twitter, like "Wow chat, you won't believe the good luck I just had!" And he cracks a creepy smirk, before calmly turning off his phone and slowly sliding it into his pocket (to suggest he's cold, calculated, and methodical, not a crazy impulsive hothead type of stalker).

    This stuff writes itself!

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  67. I'm totally ordering pizza and watching The Bodyguard tonight!

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  68. The Bodyguard was better than I remembered it from the '90s, which should be true for anything made in the good ol' days... and the '90s was far from Hollywood's peak, but still above some threshold of quality.

    Lots of positive things that you'd say about those movies, were not remarkable at the time -- being shot on film, having great locations to shoot at, stylistic use of shallow focus, chiaroscuro lighting, slick production values in general, and especially in this one, a killer score / soundtrack. Who would bother remarking on these good points in 1992, when every movie had some or all of them?

    This is one of those "critics hate it, people like it" movies -- Rotten Tomatoes score of 38% for critics but 64% for people. It has a 6.4 on Imdb as well. Not hall-of-fame stuff, but like it rather than hate it.

    Roger Ebert, however, gave it 3 stars out of 4 when it came out. Among mass media critics, his reviews seem to hold up better than others.

    Anyway, beyond the positive things listed above, I'd emphasize the color and lighting -- in the outdoor scenes where there's lots of plantlife in the background, it has that '90s neo-Impressionist look. Shallow focus to blur the forms into what resemble thick daubs of paint, lively green and floral palette, and rendering it all in outdoor daylight rather than with precise studio lights, and overall being naturalistic (not to say realistic).

    Many movies from that time have these outdoor nature shots, including other romantic thrillers like Sleeping with the Enemy and The Crush -- not the first place you'd expect Impressionist visual styles. It's the establish the romantic and wholesome atmosphere, which the thriller aspects threaten to disturb. Just not as super-saturated as the red roses and blue sky and white picket fence like in the opening sequence of Blue Velvet, shot from a very low Expressionist angle.

    And they're naturalistic cuz the late '70s and '80s are over at that point, with their heavier more Expressionist style. The '90s and y2k were more mellow and naturalistic and less striking overall (although in 1992, it's not grungy looking, or monochrome pale blue / green like it'll get toward 2000).

    The locations all look wonderful, too, from the glamorous Beverly Hills mansions, to the Art Deco picture palace where the Oscars are held (Pantages Theater), to the handsome lakeside wood cabin at a snowy Lake Tahoe.

    And as iconic as the soundtrack is, the music is not so intrusive. It's not like Fame, Footloose, Flashdance, etc., where the entire song is played, across the many songs making up the soundtrack. Each song gets about a 15 to 30-second excerpt, as the camera shows its music video appearing on a TV set that one of the characters is watching, or as she's performing it on stage.

    They're more within the narrative than over / on top of the narrative, since Whitney Houston's character is a famous singer -- these are the music videos she's made, and these are the devices that her legions of fans watch them on. Others she sings while on stage -- as famous singers do. I was surprised at how restrained and seamlessly naturalistic their insertion was.

    None of the critics who hated it mention anything visual or musical -- cuz they are famously cerebral types, whoses senses fail them. Even if they're music critics, they're tone-deaf and have two left feet. Worse still if they're reviewing a movie where the music is a large part of the appeal. And the only time movie critics mention the cinematography, set design, costumes, etc. is if it's directed by a cinematographer, and then they say, "Well, this sure is a sequence of pretty pictures, photographed gorgeously, but where's the rest of it?"

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  69. The plot of The Bodyguard is totally fine, it doesn't force itself through obstacles. However, there are a few too many reversals in the diva-bodyguard relationship, from trusting to antagonistic and back again. And given how unmotivated the large number of them is, only some of them are acted convincingly -- the rest have the two leads struggling to get through another brief reversal. And given that the runtime is 2hr 9min, some of them could have been cut entirely, trimming it down to a more manageable 2hrs or even 1hr 45min.

    The main source of tension is supposed to be the pair of them (and her entire entourage) vs. her stalker. The more the tension shifts to the diva-bodyguard pair, the less the overarching stalker drama develops. There should only be one period of squabbling and incompatibility, at the outset, and maybe another one well into their relationship, a temporary setback. Not the repeating on again / off again pattern. They're supposed to be focused on protecting her from an escalatingly creepy stalker, not on each other's foibles and annoyances.

    Some of the later reveals are telegraphed early on, but there are also red herrings, so I don't think it's so lazily predictable what will ultimately be revealed in full, although some pieces of it are.

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  70. Critics hated the romance angle cuz it's in a thriller movie, and I assume they were expecting the romantic angle and the thriller angle to involve the same pair -- like a femme fatale seduction, or a superficially charming bad boy who is actually a manipulative psycho. Or maybe one or both being married / already in a relationship, and the thriller angle involves them taking out the threat of the other party, or maybe the other party catching wind of the adultery and plotting to take them out.

    But in this movie, the romantic pair, neither of whom is currently attached, are cooperating with each other against the antagonist, so there's no torrid or tawdry feeling to their "will they or won't they" tension. Neither one can undo the other via romance and sex. The undo-ing comes from the stalker, via violence -- and perhaps rape, but not seduction.

    Rather the tension underlying their attraction is that it could hinder their joint goal of protecting her from the stalker. If their passions get the better of them, they might not be as dispassionately professional in making decisions about where she's allowed to go, with whom, when, under what other conditions, etc. It's not just any ol' "don't sleep with your co-workers or boss / employee" prohibition in the name of workplace harmony -- blurring their professional relationship in this case could get her killed, ruining their common goal of protecting her.

    By sublimating their desires for each other, hers into her intense performances on stage, and his into his security obsession, the bodyguard is more of a chivalrous knight-errant type. And in fact, both of them go to see Yojimbo, which the bodyguard says he's seen 62 times. Afterwards they spend the night at his house, where she is fascinated by and plays around with his Japanese katana sword, again painting him as more of a ronin than a knight protecting a woman who is already his maiden.

    So in fact, it would spoil his role as a knight-errant if they were to surrender to their desires, which would turn it into a "knight protecting his maiden" story -- but too quickly to be believable, since they just met, she's not his long-term maiden.

    The romance angle is only unsatisfying if you went in expecting the typical combination of romance and thriller -- where the lovers are antagonistic toward each other in some way. When they're both on a team, against the antagonist, then they have a whole different path they're going to develop along, and it makes total sense for them to behave as in The Bodyguard rather than an earlier Lawrence Casdan movie like Body Heat, or the other various romantic / erotic thrillers from the '90s.

    It's more like the character dynamics in Klute -- which, being helmed by a superior director (Alan Pakula), shot by a superior cinematographer (Gordon Willis), and made in a superior decade (the '70s), is a much better example of this type. But The Bodyguard still holds its own, especially in the context of other '90s movies, where it's not the typical approach but succeeds anyway.

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  71. More on The Bodyguard, which again is "like it" rather than "hate it", but serves as a case-in-point of a much broader class of middlebrow movies requiring a re-evaluation now that we can no longer take such a level of craftsmanship, competency, and structure for granted in our collapsing-empire culture.

    We were raised on objectively very well made movies, taking them for granted and judging other well made movies by this high standard. Future centuries, and in other parts of the world, will not look back on the top American movies of the 1990s and think, "Meh, what's so special? My kid could've created that." Not in a million years could he have...

    And skimming the critics' reviews of this particular movie exposes their broader failure to get what movies are, how to evaluate them, and so on. And stemming from that, the ratings aggregator sites in our era of BIG DAYTA, one of the fakest developments in the history of the media. Who are these film experts, and who programmed the ratings algorithms so that this movie gets a 38%, when people gave it a 64% and surveys of people like Cinemascore gave it a B+.

    The most eye-opening revelation about movie critics, in whatever medium or whatever time period, is how wordcel they are. Movies are too physically embodied, and sensorily delivered into the audience's brains, to be treated like they're just blocks of text on pages, as though they're fundamentally novels that happen to be performed and photographed and maybe set to some incidental music as their delivery method. From the very origin of movies, they have been visual and musical spectacles, which also include a delivery of a plot as acted out by the cast of characters -- much closer to opera than to novels.

    But even within the blinkered wordcel framework, the critics are usually just being autistic and personally picky in their complaints, not considering the work on its own terms and its own goals.

    It's hard to believe that we ever took movie reviewers seriously, as though they had special training or innate perceptual skills or honed intuition, erudition, and so on. They were just the local movie junkie writing for some flyover-state newspaper or insecure coastal elite wannabe paper of record.

    Well, with that out of the way...

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  72. A major complaint from wordcel critics was that the acting by both leads was wooden and stiff, leading to their romance having very little chemistry or passion. Again, this movie is not a reboot of Body Heat, it's a totally different arrangement of roles -- here, the romantic man-woman pair and the thriller protag-antag pair are not the same.

    The male romantic interest is a bodyguard, whose profession requires him to be stoic, laconic, and unflappable. Nobody should expect a welling-up of passion, even during their vulnerable moment when he does allow their affair to unfold. The numerous references to samurai and ronin reinforce that he's following a higher moral code like bushido or chivalry, keeping his emotions under control so that he can better protect the vulnerable.

    Steve McQueen -- the originally intended male lead, back when the script was written in the mid-'70s -- or Clint Eastwood would have played the strong silent type better, but they're a bit too high-testosterone, and too tall and imposing in Eastwood's case, to work as a former Secret Service type of bodyguard, who is more about blending in like a nimble ninja. And crucially, *not* overshadowing the diva he's hired to protect, which Eastwood may have easily done. He's supposed to stay in her shadow, not be a compelling charismatic force in his own right.

    Here again the better comparison is to Donald Sutherland's character in Klute. As a superior actor, he performs this role better than Kevin Costner, who is in fact somewhat underwhelming, but not disappointingly so, and not in a way that hinders the goals of the movie.

    And in any case, that's not the complaint of critics, who wanted it to be a more McQueen or Eastwood or Bogart or Han Solo or maybe Charles Bronson from Once Upon a Time in the West sort of male protector love interest.

    In their own respective movies, those male leads would've done a perfect job -- but not if cast in a movie like Klute or The Bodyguard, where the young free-willed impulsive diva is supposed to steal the spotlight. After all, she's being stalked and monitored, so when she acts impulsively in highly attention-getting ways, that heightens her vulnerability to stalkers, who don't gravitate to lowkey, boring, unattractive, wallflower, charisma vacuums.

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  73. For her part, Whitney Houston is certainly not wooden in her debut role here, since she's mostly playing herself, making it easier to get into the character's body and mind, and in a way that's totally appropriate for the plot, since the character is a famous spotlight-seeking diva who enjoys living the publicly glamorous lifestyle that such fame brings her.

    Really her only weak moments in acting are during those overly numerous reversals of her relationship with her bodyguard. Having to turn on a dime, then back again, for no real motivation, make it hard for her to sell. That's more a fault of the script, though, not her acting.

    Otherwise, she pulls off the diva persona perfectly, as well as flirtatious, teasing, and initially haugtily irritated, which are all meant to provoke a reaction from Mr. Stoic Bodyguard. It's never heavy-handed, tawdry, or overly sexual -- her relatively innocent boy-crazy teenager approach makes her somewhat of an ingenue, which contrasts nicely with her supposedly worldly diva side, and heightens her vulnerability to predators who would take advantage of her relative innocence.

    Her sister, her foil, is much more horny and forward toward him, but in context it smacks of desperation and is off-putting to him -- no chance of tempting him out of his stoic protector role. She's envious of her far more successful sister getting everything she wants, and her directly seductive approach stems from her desperation to be seen for once instead of her spotlight-hogging sister.

    There is not supposed to be a Fourth of July fireworks level of passionate romance between them. They grow emotionally close and romantically curious about each other cuz their professional relationship requires them to be more or less the only ones in each other's lives. It's more of an experiment in, "Well, we're both here with only each other to rely on and converse with -- why not take it to the next level, since we both have normal needs?"

    The experiment goes awry, potentially compromising their larger goal of protecting her at all costs from the stalker, so he calls it off, she is initially burned but sees that it wasn't a passionate love-at-first-sight affair anyway, and both settle back into their protector-protected relationship. This character arc should not have Body Heat-caliber energy powering it forward against all logic and precaution -- they should behave relatively tepidly toward each other, by love affairs standards.

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  74. Perhaps the critics were expecting an intensely passionate love affair between the two, which failed to materialize and frustated the critics, due to the intensely emotional power ballad nature of the soundtrack's key songs.

    However, only one of the songs was released in advance of the movie -- "I Will Always Love You" was released in early November, the movie released in late November. The other songs weren't released until the following year, so they could not have influenced expectations of the movie, especially for critics, who see them early in their release life.

    Now, it may be somewhat different for viewers who saw the movie after the songs were all released and attained iconic status -- this soundtrack is the best-selling soundtrack of all time, and the best-selling album by a female artist of all time. They could have gone into watching the movie expecting the songs to stem from the relationship between the romantic interests, then felt underwhelmed by the less-than-fireworks affair that unfolds between them.

    And yet this is not a possible illusion to maintain once you begin watching the movie. Her character is an already famous singer with multiple big hit songs -- which have already been conceived, written, recorded, and distributed through the mass media to a global audience of crazy fans.

    They're not wallfower songs, but big voice diva, larger-than-life, spectacle of spectacles, power ballad anthems. Charismatic, stunning, impossible to not be enthralled by -- exactly the kind of song that would attract stalkers, who are drawn to grand figures rather than meek wallflower obscurities. Why? Cuz they're fundamentally hunters or glory-seekers, and they want a big prize to chase after as a trophy -- which is why they target celebrities rather than randos, and the higher-profile the celeb, the better.

    Since almost all of her performances have already been recorded and disseminated before the bodyguard even enters her life, they cannot possibly be construed within the film's narrative as reflecting her intense undying love for the bodyguard character. He came into her life afterward.

    And so there is no disappointing mismatch between the tone of her songs and the tone of their romantic affair. She performs these intensely emotional anthems cuz she's a natural diva -- whether she writes her own songs, has a songwriting team write them for her to perform, or does a cover song, she is incapable of delivering a performance of them that is not that of an intense big-voice diva.

    Those emotions don't have to stem from some personal history of her own -- she's like an actress who can embody intense emotions even when they're not coming from her own personal life experiences. She just has to know what her "character's" motivation is within the song, and she can assume that role and carry it out, even if she's never felt or behaved that way in her personal life.

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  75. The only song that *does* come after their relationship is the biggest one, "I Will Always Love You". But within the context of the movie, we are not supposed to read too much into her intense re-working of it -- which she initially hears as a mellow "sad cowboy" song in a nondescript diner with a humble dance floor with work-a-day patrons slow-dancing to it.

    If every other song in her repertoire has already been delivered in an intense anthemic way, despite not stemming from her personal experiences (but rather the skills of her major-label songwriting team), we're meant to see this one in that way as well. No matter whether she'd met the bodyguard or not -- or any other love interest -- she would necessarily re-work this song into her signature big-voice diva spectacle to end all spectacles manner.

    So in context, the bodyguard does not inspire her emotions in the over-the-top rendition that she eventually performs it in. Maybe a little -- but not that much, that's just her standard level of emotional intensity on stage or in the studio. Rather, his role is to help her discover the perfect song for her to re-work from a humble original, into her own distinctive diva-riffic style.

    He's clearly on her mind while she sings it on stage, and when it's used as a musical voiceover for her thoughts during the final embrace on the runway before she flies off for good in her private jet. But her facial expressions are not conveying passion being relived, or stinging regret at a passionate affair that is no longer burning. They're joy and gratitude, for the protective role he played in her life -- and in helping her discover this perfect song for her to re-work into her repertoire!

    For she never would have encountered this song, or any kind of sad cowboy music, if he had not taken her on a date to that nondescript diner with ordinary folks dancing to ordinary folks' music. Her creative team from the glitzy, slickly produced major label studios, has so insulated her, creatively as well as socially, that they'd never allow such a song to reach her ears as a suggested cover.

    On the one hand, that has turned her into a huge star with multiple successes -- but has also kept her from discovering new and unexpected artistic inspiration (again, not social or emotional inspiration -- she's that emotionally intense no matter who she meets).

    She has an epiphany while slow-dancing to it with the bodyguard, "Y'know, this is totally outside of my wheelhouse, but it's perfect for re-working in my signature style!" It's not, "Wow, our love affair is so passionate, that I simply MUST re-work some song into an over-the-top memorializing of our love, and I've found just the song to use for that purpose!"

    So, her main emotion in performing the song is gratitude -- for his protection, but also his helping her discover artistic inspiration that she would otherwise never have come into contact with.

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  76. And how pleasingly ironic that this escape, this jailbreak from her overly managed bubble, was executed by her bodyguard -- the man whose job is to insulate her MORE, not less. But he figured, who would expect her in such an unglamorous location? Just like who would expect her to stay in the remote wooden cabin next to Lake Tahoe? He's not being irresponsible by letting her travel outside of the surveillance fortress that he's turned her main residence into.

    He's going outside his comfort zone, in letting her roam out of her gilded cage, and she's outside of her comfort zone artistically, slow-dancing to sad cowboy songs. But only through this little bit of risk-taking can she serendipitously discover a whole new musical inspiration. No high-paid entourage of major label pros could have picked out that song for her to become curious about re-working in her own style.

    So of course she's going to be grateful toward him, for helping her discover this diamond in the rough of a song, which she will polish and cut into a glittering shape that will dazzle audiences all around the world.

    He helped her grow, develop, and mature creatively -- despite being the stodgy and stoic member of the pair. It's very sweet and touching, and understated in its poignancy, like the tone of the movie overall. Viewers going in with the preconception that the anthems stem from her personal love affair with the bodyguard will totally miss this role he plays in her artistic growth, and gripe instead about how the songs don't match their relationship.

    Watch the damn movie on its own terms, people!

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  77. To wrap up this discussion, let's turn to some of the common clueless complaints about "plot holes" and such, probably the dumbest criticism a person can make.

    In the comments section of Roger Ebert's review, on his own website, some dum-dum lists all sorts of implausible, unmotivated actions taken by the stalker -- if he were a serious stalker, she'd already be dead by the start of the film. Why did he plant a bomb on a boat that she was never on, or had any reason to be on? Etc.

    Well, this numbnuts missed the establishing sequence at the very outset of the movie, which shows the stalker to be obsessive about making her feel uncomfortable, psychologically playing around with or torturing her. The torrent of creepy letters, gory drawings, weird-voice phone calls, etc., all show that his goal is not to kill her as quickly and inconspicuously as possible. He himself is an exhibitionist and attention-seeker, who wants to be famous for his ability to stalk and torment a big-time celeb.

    Early on, it's revealed that before the movie begins, he had even broken into her house and masturbated on one of the beds, along with leaving a creepy letter behind. That is clearly not the behavior of someone who wants to quickly and inconspicuously kill his target. He wants to draw it out, and terrify those around her as well, not just her herself.

    So it makes perfect sense that he would plant a bomb on a boat that only her son or others in her entourage would take a trip on -- to escalate his threats further, while still leaving her alive herself to be tormented some more.

    Ebert complained about the implausible scene where the bodyguard runs after a suspicious van on the property, which speeds away. Ebert said, What is he going to do -- jump onto it at high speed, hammer through the windshield, and fight the creep then and there? Well, no, maybe he just wanted to get the make and model, or a license plate, or at least a fleeting glance at the suspect's face, so he has some kind of information to act on, despite the van and suspect inevitably slipping out of his grasp. This is his only chance to surveil it, so might as well run for his life to get a good look.

    These are just some of the criticisms about certain details being melodramatic, kitschy, etc. -- but the plot is set within a highly produced fame-machine, with glamorous lifestyles, high-stakes status contests, palace intrigue among the entourage, and deranged stalkers now encroaching on the comfort of the Beverly Hills compound as well.

    What other sort of behavior are we supposed to expect from the wheels and cogs in the skyhigh fame machine, except for melodrama? This is one of the few stories where melodrama is naturalistic to its setting and cast of characters, not a hammed-up distracting extravagance from the indulgent scriptwriters or actors. No different qualitatively from Sunset Boulevard, even if that one is quantitatively better in its execution.

    None of these supposed plot holes ever feels disappointing like "Oh, well that happened by magic" or "Oh, well you just wouldn't understand this crazy Beverly Hills world, you just have to suspend disbelief about a foreign setting". No, that's pretty much how we anticipated Beverly Hills social and professional dynamics to be like.

    Nitpicking at plot points, especially in a long tedious list, usually means you didn't get it. If the movie was truly a failure, there are huge uncontroversial problems with its plot, not a long series of micro-aggressions that tick of autists.

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  78. OK, that's it for The Bodyguard. I'm not devoting so much thought and words to it because it's the coolest movie ever made and is unfairly maligned by haters. But the disconnect between critics and real people, who have better aesthetic tastes and social intelligence than the average critic, is insane -- and symptomatic of a broader disease, which is why I'm discussing this one movie at such length. The points generalize very broadly, not just this one particular movie (which again, is "like it" rather than "hate it").

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  79. Following up on The Bodyguard, having made the main points. Why is it a good middlebrow kind of movie, why do people like it rather than hate it (as opposed to critics), etc.?

    This middlebrow movie elevates itself above others in its category by making historical references to the art-form of film-making and show business, which includes pop music -- especially once music videos became a visual spectacle in their own right.

    Critics usually love self-referentiality -- like Whitney Houston clearly playing herself, but also a stage persona -- and references, allusions, homages, etc. to the medium they're made in. A movie about the movie industry, a book about the book industry, and so on. Well, The Bodyguard has all of that.

    The first encounter between the diva and the bodyguard is on the set of her new music video, so we see the behind-the-scenes making-of point-of-view, the crew, the dancers chatting with the star, the elaborate process of fitting her into a custom-made costume, etc.

    Even before that, there's a bomb delivered to her backstage room, the event that finally triggers one of her handlers to get serious about security.

    One of her costumes is an homage to the Maria robot form in Metropolis, quite an old reference for 1992, and harking back to the silent era when the visual and musical spectacle elements were even more prominent than in the talkie era. It's not any ol' old-timey reference -- it shows her skill in taking on multiple personas as a stage performer, just as the robot suit provides Maria with a different persona once it's on her.

    And the song that it's paired with, "Queen of the Night," is quite different for Whitney Houston. It's more in the vein of "Free Your Mind" by En Vogue of the same time -- mostly hard rock, with some house danceclub music, and less R&B than usual. Not a straight-up R&B or soul ballad, or a strictly dance song, like she's used to. The hard rock edge, and more aggressive club sound, is her taking on a new persona, so why not symbolize that with donning a new suit of armor like Maria from Metropolis?

    The two go on a date to see Yojimbo, a 30 year-old movie at the time, and like Metropolis, one with foreign arthouse status in America. This is also not any ol' old-timey reference, as it establishes the bodyguard's link to the ronin or knight-errant, and shows that he appreciates the movie business -- he's seen it 62 times -- rather than looking down on mass entertainment. So he doesn't scoff at her profession, he can appreciate what she does.

    Several picture palaces from the Roaring Twenties are shown in all their Art Deco glory, as is the modern theater with neon signage where they see Yojimbo, in Little Tokyo. (The katakana say "Atashi," but it may have closed by now, as I couldn't find any info on it.)

    And of course several of the soundtrack's hits are cover songs, establishing a link to the history of pop music ("I'm Every Woman" and "I Will Always Love You").

    The typical middlebrow movie does not have this many links, homages, and allusions to the history of its medium. It stands out as something neat about this movie in particular.

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  80. These various references, homages, etc. are not thrown in cuz they're cool, they establish that "show business" is a great big integrated ecosystem, with a rich rooted history, traditions, veins and strains that continue through the present day.

    And something that vast and rich gives its audiences the feeling of belonging to some community that's much grander than their individual selves. It's distinctly American culture, and it makes us Americans feel even more tightly bound to each other -- back when there was still a common culture in this country, at any rate.

    And somebody has to create that culture, it doesn't just materialize out of thin air. This movie shows the network of people involved in creating, producing, and distributing that culture that we all come to appreciate and identify with.

    The fact that they can deliver such audience-binding spectacles lets us forgive whatever melodramatic social and professional intrigue they have going on among themselves. It humanizes them and makes us care about them -- for without them, we wouldn't have the intense common culture that binds us together (or used to, back then). It's not just some random group of melodramatic local theater kids, whose brattiness we reject cuz they're not delivering the entire nation an intense audience-binding cultural product, like Hollywood movie and music studios do.

    This also keeps it from being tacky lifestyle porn, a la Lifestyles of the Rich and Famous. They got rich and live in these amazing Beverly Hills mansions (like the Hearst Estate) as a reward for putting together the amazing pop culture that binds all Americans together.

    This angle was probably lost on audiences in 1992, cuz our empire and culture was not in freefall collapse back then. We took it for granted that we had stellar teams of people creating something big and exciting that would knock all Americans' socks off and bring us together as a community. These days, we *wish* we still had people like that in the culture-production industries.

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  81. So, when the stalker is threatening the diva herself, as well as her broader entourage, and by implication the whole rest of the Hollywood industry (since the stalker could target others among them, or spawn copycats) -- he's not just threatening any ol' individual.

    He's threatening to weaken an entire network of people who are responsible for binding Americans together as a cohesive culture. And so, he's really threatening to undo all of America's communal bonds, and to torment Americans as an entire society.

    And he's doing it in a sick demented Satanic manner, where he uses the very same approach as the industry he's targeting -- slickly produced pieces of media (the threatening letters) and art (however gory and amateurish in the drawings), seeking a dark fame of his own, wanting to be immortalized for his outsized role as one individual in the history of American culture. He's inverting and perverting the fame industry and celebrity culture that normally delivers us our common culture, in order to deny it to us and even terrify us about its future.

    Celebrities may not be our royalty, but they're close to it. So his attempt to shut down her career while it's still thriving is like a political nut assassinating the sitting president. That's not a leap of logic in the movie, as it's repeatedly mentioned that the bodyguard was part of Reagan's security detail, but happened to be away on the day he was actually shot by a would-be assassin.

    This stalker is not targeting someone who's rich and famous for no reason -- he's targeting all Americans, who would be deprived of her talents, and who would be terrified by the news. She is, in fact, in some kind of public service role, like a politician.

    Around the same time Reagan was shot, John Lennon was assassinated -- somehow, the seekers of dark fame can tell that it could be achieved equally by targeting a national politician or a national cultural figure.

    Normie audiences understand all of this implicitly, cuz they're part of the common culture, enjoy it, and value the bonds that it creates across Americans who have never even met in person before.

    Socially awkward critics, those who hate the nation as a whole, or who are just autistic, don't understand the magnitude of the threat posed by the stalker in The Bodyguard, and those like him. With the stakes so high, the typical audience member values this movie more than one with lower stakes, like an office creep stalking the hot new girl in the workplace, which does not threaten Americans and American culture as a whole.

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  82. Again, I hate having to spell all this out at length, but literally none of the critics discuss this, even the ones who liked it. So it requires in-depth explication, even if the typical normie theater-goer in 1992 understood all of this pretty well.

    And this point generalizes to the weakness of movie reviews and criticism as a "field". It's amazing how much they simply don't get in the first place, which normie audiences do.

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  83. A note on the tone, which is sincere rather than ironic, cynical, satirical, black-comedy, etc., as most other "movies about the movies" would employ (including the great examples of the genre like Sunset Boulevard and Network).

    Certainly the acting styles, the dialog, and the plot are sincere rather than satirical. But they're just ordinary or serviceable, nothing special. It's the soundtrack that blows away the audience with its heart-on-sleeve, totally uninhibited sincerity.

    Not a bitter, self-loathing, satirical, or black-humor note in any of those songs -- least of all "I Will Always Love You," whose original *is* a tad on the "sad cowboy" side, but which the diva transforms and elevates into her own style, with a tone that is joyous, triumphant, and filled with gratitude.

    Nobody with an actual human soul fails to resonate with that song, or the other intense power ballad, "I Have Nothing". Black or white, male or female, rich or poor, young or old, urban or rural, liberal or conservative, traddy or trendy.

    It's such a welcome breath of fresh air, where the usual approach is that a mature sophisticated look at show business requires the cynical, black-humor, etc. tone. Sorry, but protecting major cultural figures from violent stalkers and would-be assassins, to preserve our national culture and its broad-based audience, is way more of a mature theme than skewering the hypocrisy of the private lives of the creative class, as humorous as that may be.

    The grown-up response is, "Who cares how they live their lives? As long as they produce the culture that binds us together, I don't give a damn what drugs they take, who they commit adultery with, etc."

    And indeed The Bodyguard does not delve into the seedy underbelly of Hollywood with drugs, adultery, and so on. It doesn't paint them as Leave It to Beaver types -- we already know they're not that way, but we don't need to see it as the audience, so the filmmakers don't dwell on what their private lives are like. The audience, unlike the self-styled sophisticated critics, is not dumb -- we know how Hollywood people live. It's irrelevant. They make the stuff that we need, so we give them a pass, it's up to God to finally judge them.

    Critics who want too much to see the seedy underbelly of Hollywood are really in league with the most hated group of all -- the paparazzi and tabloid gossip rags. (Well, most hated back when there was a common culture whose makers were of national news interest.)

    Only a naive gullible rube would think Hollywood is a wholesome place, so there's nothing to demystify about it -- only a midwit wannabe would bother with that task.

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  84. And one final brief note (for now), on the role of race. This movie was made during the low-point of civil breakdown in the 50-year cycle that Peter Turchin has detailed and discussed. The most recent peak was circa 1970, and the next would be circa 2020. That puts 1992 about smack-dab in the trough of civil breakdown, race riots (only the L.A. riots of 1991, one year, one location), and polarization in general (Bill Maher hosted a popular talk show called Politically Incorrect).

    The bodyguard is not portrayed as a goofy white boy, as someone who needs to apologize or atone for anything race-related, or as someone who wouldn't feel attracted to the attractive 20-something African-American star he's in close quarters with, protecting 24 hours a day.

    The only racial comment in the entire movie comes from him, and it's a joke that everyone takes well (on screen and off). The bodyguard is talking to the cocky black chaffeur, who doesn't seem fazed by the bomb plot and the beefed-up security. He says, "In my experience, you know who always ends up hurting hurt by these stalkers?" -- "Who?" -- "The cocky black chaffeur", and both of them have a chuckle.

    When black people were allowed to be real people, not a collective political entity, they could pack an entire cast of a mainstream movie or TV show -- meaning, something that appealed to most white audience members as well, not a black niche. The Jeffersons, Good Times, the Cosby Show, the Fresh Prince of Bel-Air, and on and on and on. These did not exist circa 1970, which was too politically and racially charged, and they disappeared by the next charged peak circa 2020, at the height of the woketard crusade.

    And they're allowed to have various personalities and roles, some good and some evil, some hopeful and some despairing, some experience and some innocent, etc. There's the lead diva herself, her sister who lives in her shadow, the cocky chaffeur who is put through boot camp to be a more competent protector behind the wheel, the older handler who's crotchety but persistent in roping the bodyguard into the job and trying to make the diva simmer down, the inquisitive but still vulnerable son of the diva, backup dancers, and so on and so forth.

    There are only 2 recurring white characters -- the bodyguard himself, and the diva's micro-managing yuppie press agent. Much of the minor characters and extras are white, but the core cast is majority black -- without having to beat the audience over the head with that fact, and without it being unmotivated. Everyone prefers associating with people of their own racial, ethnic, or cultural background, and three of the core cast are blood relatives, so of course they're the same race.

    This is not a crucial ingredient in what makes the movie succeed, but it is a nice and noteworthy aspect of its being made during the Colorblind Nineties, and very refreshing today after having gone through the extremist woketard crusade of the 2010s and early 2020s.

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  85. Hopefully last round-up of remarks on The Bodyguard. Several reviewers said it's campy or kitschy, but it's neither of these -- they'd actually like that, as it would feed into the satirical and not-serious tone that they really want when there's a movie about the movie business.

    None of the scenes could have appeared in a John Waters movie, Rupaul's Drag Race, etc. To the emotionally numb wordcel critics, any intense spectacle is campy or kitschy. They use these buzzwords to intellectualize their "ick" whenever there's too much emotion on screen.

    The diva wears several 1920s / Jazz Age costumes, and they're played straight and tastefully, not for camp value. They're homages, tributes, establishing the link from the past to the present, not as a kitschy LARP.

    Nor is her Maria-bot from Metropolis costume campy -- it's a sincere tribute and variation on that old theme. It's done tastefully, albeit in a more couture direction -- but that doesn't automatically make it campy or even extravagant or ornate. It's not '90s John Galliano. Like the inspiration, it's fairly geometrically minimalist. And her hair and make-up are also restrained when wearing the costume, not extravagant let alone campy.

    See these 4 music videos from the soundtrack, which all have scenes from the movie, and her stage costumes in particular (for "Queen of the Night," she has a somewhat more elaborate costume just for the music video, with more of a helmet, compared to the movie version that has more of a tiara).

    "I Have Nothing"

    https://www.youtube.com/watch?v=FxYw0XPEoKE

    "Run to You"

    https://www.youtube.com/watch?v=h9rCobRl-ng

    "Queen of the Night"

    https://www.youtube.com/watch?v=rFcnGLFGbL8

    "I Will Always Love You"

    https://www.youtube.com/watch?v=3JWTaaS7LdU

    About the stalker being akin to a political assassin trying to terrorize the entire nation, it's even more charged than that for the audience -- she's really playing herself, a contempo mega-star.

    When audiences saw that movie, and today as well given how well known she still is, they didn't see any ol' character being threatened -- they saw WHITNEY HOUSTON HERSELF being threatened, in the prime of her music career. So what if she's adopting the alias of Rachel Marron -- it's actually Whitney who's being portrayed, as far as the audience is concerned.

    That gives it a realistic immediacy that other movies about stalkers and assassinations do not accomplish, where we have to imagine a close bond with the targeted character / actress playing her. We don't have to imagine while watching The Bodyguard!

    It's as if there were a movie about a stalker / assassin against the president -- but the IRL sitting president of the time stars in the lead as the president! Independence Day, with Bill Clinton himself playing the president (under an alias) as the White House is targeted by warlike aliens! The tension and the stakes in The Bodyguard are far higher for this reason, and would not be without an IRL music mega-star playing the diva.

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  86. Back to remembering the Aquanator, I found another key character trait she shares with the Goobinator -- a highly developed sense of smell, and an unstoppable inquisitiveness about smells and scents.

    https://www.youtube.com/watch?v=xR-7xvJ2t_g

    Gura is what the 4chan anons would call a smellfag. And as it turns out, so is her oshi. ^_^

    More evidence that Gura = Korone + Aqua + Marine, all jammed into one tiny sharky container! All three of those JP girls are heavy hitters, so it's no surprise that the Goobinator is the heaviest hitter on the EN side.

    Aqua is fairly dainty and shy, not someone you would expect to be highly corporeal and sense-driven. And yet, she's a super-sniffer, loves dancing, is naturally talented at difficult video games, and enjoys cooking! Not a wordcel or a nerd. In fact, she often thanks her manager or a colleague for helping her express herself verbally to others.

    She's more like a healthy active animal, not a disembodied computer program.

    I wonder if, like Gura, Aqua is curious about taste and texture, leading her to eat sand by the handful as a lil' tyke on the playground. Hehe.

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  87. There are also all these similarities between Judaism and Zoroastrianism from Iran which are worth exploring, in light of the Iranian origins of Talmudic Judaism.

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  88. The Bodyguard is a twin or companion movie with L.A. Story from the previous year, both directed, photographed, and edited by the same trio. They're the only two major directing credits for Mick Jackson -- shame there couldn't have been a third to fill out a trilogy.

    Both have very '90s soundtracks, to give it a keen sense of time or zeitgeist -- more on the Top 40 side for The Bodyguard, more New Age for L.A. Story, but still both instantly transporting you to the '90s zeitgeist.

    And both create a very palpable sense of place, by shooting at various iconic L.A. locations, and others that are not so iconic but still very representative and recognizable as "the L.A. look-and-feel".

    And of course the cast of characters themselves are all very SoCal in their lifestyles and interpersonal behavior. Then there's the fish-out-of-water character that the audience identifies with (Sara, and Frank Farmer), who initially is puzzled by the over-the-top L.A.-ness of L.A., but who comes to appreciate the locals and the cultural ecosystem that sustains them.

    The common approach or overarching theme is humanizing and paying tribute to the L.A.-area media and entertainment industry, and the broader ecosystem that it's an integral part of. The tone is affectionate, appreciative, and sincere in asking "What if we didn't have this crazy ecosystem that produces the culture that binds us together?"

    It's like Whit Stillman's movies about "humanizing and celebrating the WASPs", but for Hollywood creatives and other SoCal New Agers. Naturally it's going to have a larger-than-life cast of characters compared to the understated WASPs, and it will have more of a visual and musical spectacle than the dialog-heavy Stillman scripts, but that's only appropriate for the types who create culture for a national and even international audience.

    The major difference between the two SoCal movies is the light and comedic -- and warmly satirical -- tone in L.A. Story vs. the threatening / thriller tone to The Bodyguard, which is not employed for cheap thrills, however, but to make the audience appreciate how there are also seekers of dark fame who would assassinate the makers of our nation-binding culture and attempt to terrorize us all through targeting national cultural figures.

    But that doesn't stop both of them for having their moments of neo-Impressionist cinematography -- the exterior shots of the diva's residence (the Hearst Estate), and the brunch scene in L.A. Story, which has the same look and feel of Renoir's Luncheon of the Boating Party, and whose entrance (actually a totally separate location) looks like a typical Renoir "path into the woods" setting. See the screenshots and IRL locations for L.A. Story here:

    https://www.iamnotastalker.com/tag/lidiot-restaurant/

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  89. Since Whitney Houston was already a known superstar IRL, this removes the need for a long stretch of the first act to be about her humble origins and rise to fame and growth of her national fan-base.

    The plot can start in media res, as far as her career is concerned, and immediately get going with the main plot about her stalker, the beefed-up security removing her from her fandom, and the assassination attempt that aims to destabilize the entire national culture.

    This keeps it from being a biopic about a tragic musical superstar, like Selena. The focus is not so much on the diva herself, but the local ecosystem she's an integral part of, and the broader national audience that that ecosystem creates a community-binding culture for.

    So it's not a very diva-centric plot after all, but about the threats posed to a much wider community by the stalker -- who, again, is portrayed as a dark diva in his own twisted way. It's not a celebration of diva-dom per se, or else the seeker of dark fame would be romanticized or glamorized as well. That ties into the non-campy and non-kitschy tone, contrary to what the dum-dum critics describe it as.

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  90. A final note on the soundtrack. I figured that while the movie critics might have cluelessly panned the movie, at least the music critics would have loved the soundtrack album. Wrong again! We truly have the worst critics in world history. See Wikipedia's article on the soundtrack, which has a sidebar on the critical reviews:

    https://en.wikipedia.org/wiki/The_Bodyguard_(soundtrack)

    All-purpose media outlets may have favored it -- Entertainment Weekly gave it a B, NYT was favorable, USA Today gave it 2.5 out of 4 stars.

    But the music-focused media generally did not like it, especially the self-styled cognoscenti types. The normie-audience AllMusic gave it 3 out of 5 stars, and so did Q. But NME gave it 4 out of 10, and Rolling Stone gave it 2 out of 5 on two separate occasions.

    This reveals the lower tastes of the rock-centric critics and fans, and the higher tastes of the Top 40 / pop critics and fans. I never knew of this fake & gay debate among critics until recently, but it's called Rockism vs. Poptimism:

    https://en.wikipedia.org/wiki/Rockism_and_poptimism

    If you look at the genres, artists, albums, and songs that the Rolling Stone types canonize, the only common thread is not musical in nature at all -- it's just having an antagonistic or edgy attitude, and/or a depressive mood.

    It could be totally vacuous "my kid could come up with that melody or repetitive riff" level of composition, but as long as it's in-yer-FACE, "society can't tell me what to do", or depressed and self-loathing about whatever, then that's real serious music, requiring canonization.

    It's called Rockism cuz they mainly celebrate various strains of rock -- early rock, classic / '70s hard rock, punk rock, grunge rock, emo rock, heavy metal, etc. But *not* soft rock or country rock (which is also soft) -- they hate that! Why? Musically, it's so similar to rock as a whole genre, but the emotional attitude is not there, and it's not soft in a self-loathing sad-boy emo attention-whoring way. It's too mature, not teen angsty. For that attitudinal difference only, these critics are always on a crusade to banish it to mocked obscurity.

    They love rap, too, the more antagonistic and/or self-loathing and sad-boy, the better. That was the only major change in their 2010s woketard re-evaluation of the canon -- to make way for angsty and depressive black-people music, as well as angsty and depressive white-people music. Nothing of a musical aesthetic nature!

    They generally do not like soft rock, pop as a whole, R&B, soul, jazz-derived pop, and especially dance music of any kind. Y'know, the genres that are the most corporeally musical in pop music -- and that run the gamut of emotions, some of which *are* angsty or defiant or heartbroken, but not restricted to this range of the spectrum, and not emphasizing the emotional tone and lyrics at the expense of the music itself.

    Just as movies are not "novels that are acted out, photographed, and set to music," pop music is not "lyric poetry that is set to music". They're a visual-musical-acting spectacle first, where the plot and dialog can be take it or leave it. And they're a body-moving melody, harmony, motifs, timbres and textures first, where the lyrics and 'tude can be take it or leave it.

    If you actually want someone to analyze and explain why some rock song sounds so great, it's usually a pop-head who will be doing it. They have a broader and more finely tuned set of perceptual skills, breadth of exposure to music (20th-C pop, as well as other time periods and places of origin), and joyful appreciation for music as an art-form and community-binding cultural practice.

    The literally tone-deaf and two-left-feet-having reviews of The Bodyguard soundtrack by the Dunning-Kruger types at Rolling Stone, NME, and their ilk, are just further evidence of this general sorry state of music criticism.

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  91. Canada's prime minister also now wants to cut back on immigration:

    https://xcancel.com/JustinTrudeau/status/1828098303596044512

    the tide is turning on immigration.

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  92. Come to think of it, rockists hate musical theater too -- viscerally, they're embarrassed by it, consider it a sign of poor taste to resonate with any of it. Maybe excepting a strictly rock-oriented musical, but they still don't like those either.

    Certainly you'll find more well-crafted lyrics, characterization, dialog, figures of speech, le mot juste, and original wordsmithing in musical theater compared to most pop music, including rock, including poetry-LARP-ing indie rock.

    It should be a wordcel's dream form of music!

    Ah, but it still has all that damn MUSIC in there, distracting from the conceptual abstract verbal ideas! Contaminating them with its corporeality, corrupting it into base sinfulness that only animal-passion-driven sub-humans would resonate with. Let alone to enjoy it -- that's downright Satanic!

    And there's that Puritanical strain in American culture all over again. Nerds and wordcels, especially when appointing themselves into the role of judge, jury, and executioner of culture -- as "critics" -- can never shake their drive toward Puritanism.

    Obsessive fixation on hunting down sin and sinners, especially as it relates to the sin of lust -- and in the domain of music, that mainly means anything danceable, but including slow-burn bow-chica-wow-wow anthems like "Love Hangover" by Diana Ross.

    And not acting as though their goal is to reform sinners, redeem them, rehabilitate criminals, restore them, etc. -- but to vindinctively and punitively mete out justice against them. Crime and punishment, just-deserts torture in Hell, etc.

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  93. Rockists may feign a tone of mockery to appear above it all, where humorous dismissal is the only weapon in their arsenal they need to use to hunt down the sins and sinners.

    But that ironic joking tone is paper-thin, and they are easily provoked into irritability, anxiety, and anger whenever the level of sins and sinners begins rising beyond the control of mere mockery. They drop all pretense of thick-skinned irony and launch into a deranged moralizing crusade against the sins and sinners.

    And in true Puritanical crime & punishment form, this escalates all the way to iconoclastic book-burning -- or rather, record-burning, as on Disco Demolition Night in 1979, when a witch-hunting mob rioted on a Major League Baseball field, with the main event being a huge explosion of disco records.

    That was not orchestrated and executed by all-American baseball fans who just happened to be there, opportunistically joining in. It was advertised well in advance by a popular shock jock, and rock-over-pop partisan. His legions of followers were of the same partisan bent.

    A follow-up event in the 2010s targeted dance-friendly pop artists like Justin Bieber and Miley Cyrus.

    Was this just a case of burning an effigy of your enemy? No, it's targeting the real, not symbolic, objects associated with your enemy, like records. These same rockist partisans would cheer if a danceclub were shut down for any reason, and would applaud if it were demolished.

    They don't want symbolic victories, they want dance music, dance radio stations, dance clubs, and dancers themselves to be snuffed out of pop cultural existence for good. Just cuz, as marginal and awkward losers, they lack the power to carry out such a crusade, does not mean that's not their goal.

    And no, Disco Demolition Night was not about race or gayness, as the woketard discourse has re-interpreted it. It was just a classic case of sensorily impotent wordcels teaming up to witch-hunt the sensually capable, and shamelessly indulgent, sinners. It was acting out a bitter revenge fantasy in the vein of "revenge of the nerds" against the cool fun-loving popular body-moving people.

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  94. Metal stands out from other strains of rock in being more corporeal, musical per se (not just verbal, poetic, literary, etc.), and as it turns out -- targeted by witch-hunting Puritans.

    Rockist partisans love harping on the Parents Music Resource Center, the goodie-goodie activist group from the Reagan era that managed to slap all those "Parental Advisory: Explicit Lyrics" stickers onto album covers, as a form of censorship.

    But that's only half of the truth -- the "Filthy Fifteen" songs that the PMRC chose to exemplify sinful music were only half metal. The other half were dance-pop (Prince, Sheena Easton, Vanity, Madonna, Mary Jane Girls, and Cyndi Lauper). Crucially, no other strains of rock are present (like indie, or its '80s-era predecessors like the Smiths), only metal.

    https://en.wikipedia.org/wiki/Parents_Music_Resource_Center#Filthy_Fifteen

    The same twin targets of metal and dance-pop were targeted by the fictional preacher's crusade in Footloose, of the same era.

    Come to think of it, which strain of rock was most associated with strippers, strip clubs, and other dance-meets-sex culture? Metal! Certainly not the purely aggro strains of rock, not punk, not indie, not even classic hard rock. Only metal.

    Which strain of rock concerts were most likely to have horned-up hot chicks pulling up their shirts to send their bouncers a-bouncing before a public crowd? Only metal.

    Within rap, only the corporeal, dance-oriented strains like crunk share this association with strippers, hot chicks revealing their bodies in public, and so on. Not the other strains, which are about lyrics over music. And sure enough, this is the strain of rap most targeted by Puritans -- not cuz of obscene lyrics, but its association with "rap video hoes", twerking, etc.

    Although rockists like rock and rap more than dance and pop, the exceptions prove the rule, within rock and rap. Rockists treat metal like a distant cousin, a black sheep that has to be tolerated, but not to be enabled in its sinful corporeal ways. Ditto for crunk and dance-rap being the black sheep within rap that must be tolerated but ideally made invisible within the house of pure words, which could become contaminated by its sinful corporeality.

    And in this way, rockists reveal their twins to be the old-school Moral Majority types. Not that they share the same cultural origins, it's more of a case of convergent cultural evolution from independent backgrounds. But still converging on Puritanism, one from a secular source and the other from a Christian fundamentalist source.

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  95. Needless to say, this bitter revenge fantasy only goes in one direction. Naturally healthy enjoyers of dance, pop, and music per se, don't pay any mind to rockism, Rolling Stone / NME / Pitchfork, or media-burning witch-hunts like Disco Demolition Night.

    In fact, contrary to the narrative about that night heralding the downfall of disco, it was at best jumping on the bandwagon, when disco was already long in the tooth (by the standard lifespan within a culture that is still highly dynamic and bringing out fresh, exciting styles all the time).

    And at worst, it provoked or was impotent to stop the *fusion* of rock and disco, which was already under way with Blondie, "Hot Stuff" by Donna Summer, etc., and which kept going for years until the peak of New Wave in 1983 and '84. That was exemplified by Duran Duran -- and once again, the connection to dance / fashion / sex-industry culture, with the erotic music video for "Girls on Film", which even had a softcore "night version" specifically made for playing in strip clubs.

    Without being notified of the "rockist vs. poptimist" debate among critics, I would have never known about it! Only one side lives rent-free in the other side's head, forever.

    It's impossible to imagine a disco dancer scalding their own soul from a seething bitter revenge fantasy against those damned rock fans and their damned rock music. LOL.

    It's more like the tone of "Good luck with your Fourierism" from Metropolitan. Not coincidentally, the same director made a movie paying tribute to the very much mainstream disco scene. Skilled music, leading to dancing, socially bonding people together in a community -- what's not to like? It was not a degenerate scene, and not strictly for blacks, Latins, girls and gays, in the woketard revisionist view.

    And yes, he praises dance-pop from the '83-'84 peak as well, mentioning Madonna, Boy George, and Cyndi Lauper:

    https://www.indiewire.com/features/general/play-that-funky-music-whit-boy-the-last-days-of-discos-stillman-82813/

    What's more trad about music than appreciating some skill and craftsmanship in the composition and performance, it being inseparable from dance, and bringing people together into a community or scene? It's unnatural for music to focus primary on lyrics and mood, especially when they're aggro, antagonistic, and depressive.

    Reject sad-boy mumbling -- RETVRN to dance-pop! ^_^

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  96. The disco haters who claim that 1979 was the end of disco can never explain why stuff like Italo disco continued to be put out in the 1980s and was popular among listeners.

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  97. "Wuthering Heights" by Kate Bush is a nice convergence of all these seemingly disparate strains of music. It's more pop than rock -- qualified as "baroque pop" or "art pop," but still pop rather than rock -- and it was set to choreography by Bush herself for two related versions of the music video. She's a dancer, and not only in that video.

    She's one of many examples of someone who came from a background that included dancing (or was only dancing), and moved into a superstar singing role. Less musically gifted examples are Paula Abdul and Jennifer Lopez. Nobody goes from being a writer to a singer, though -- no overlap in the skillset. That's why music is not "lyric poetry set to a melody and rhythm" -- it's the melody and rhythm (and other strictly musical characteristics) themselves.

    I couldn't find a link between the song and crunk, although for the link to stripper and strip clubs, I can easily imagine one of those "artistic / gymnastic pole dance" performances from the 2010s using it as the background music.

    I did find the metalhead connection, though. One of my favorite covers of it was some YouTuber, who has since deleted his account, but someone re-uploaded the cover (on YouTube and elsewhere -- search "metal Wuthering Heights cover" in case it goes down at some point). The song starts at 0:55 --

    https://www.youtube.com/watch?v=MqBMSL1AqzE

    I like that the instrumental arrangement is the same as the original, and only the vocal has changed to metal (of the same time, late '70s / '80s), to hear how well metal and baroque pop can blend together.

    With some exceptions, rock singers just can't sing that well, or get into the guitar solo (which again he left in the same tone as the original, not a shredding distorted metal version). Metal singers, again with some exceptions, are better singers and instrumentalists. And composers -- even though this is a cover, their skill at composing lets them appreciate and get into and possibly improve someone else's composition during a cover version.

    Although not the central part of his performance, you can also see how corporeal metalheads are by his body language, gestures, emoting with his face as well as voice, etc. More of a shamanic "possessed by spirits" trance.

    I remember when Irys sang with her 3D model, she was expressing with her arm and hand movements as well. She's on the pop rather than rock side of the spectrum, loves dance music, and could easily cross over to the right kind of metal. ^_^

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  98. And of course she loves dance-rap, too, singing "My Humps" and "Fergalicious" and "Milkshake" on several occasions.

    I think if she got a lil' tipsy first, she could get down to something more rowdy like crunk, if it's in a dark dance club where she's not in the spotlight. Especially if she had someone with her to scandalize, like going clubbing with Kronii. Hehe.

    Luv Iwys

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  99. Wait, Irys sang "Yeah!" by Usher, too! Wiki calls that Crunk&B, but close enough. You know she likes to boogie down to full-on crunk when it's in a dance club, and not a karaoke performance in front of tens of thousands of viewers.

    The Moominator sang "Yeah!" ironically, too... she took dance lessons as a mini-owl, but didn't stick with it. But she likes musical theater... but she's more into rock, especially the aggro / emo strains of rock. But she really prefers the less emo stuff like pop-punk, which as the name says is more poppy...

    So maybe that's the proper pairing -- MoomRys go out clubbing to some rowdy crunk music, which lets Irys boogie down like she's been craving to do, and that helps Moom leave her emo comfort zone to enjoy some choreography-friendly music.

    Irys as the free-spirited instigator, Moom as the more reserved one who she helps take off her limiters for a little while.

    Do they have "crunk night" in Japan? It seems like the 2000s never went away in Japan, so maybe there's a club that does! Next time Moom's in town, they should set up a dance club date!

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  100. Speaking of instigators, Raora is a grade-A troll, instigator, teaser, bully, and heel (pro-wrestling term)!

    I'm just getting around to watching some clips of the EN Reco thing outside of Gooba and Moom (whose whole streams I watched). It seems like anything involving Kronii is the most entertaining so far -- she's like a substitute teacher, with unruly students, only she's trying to be a queen, and there are unruly subjects and rivals from neighboring kingdoms.

    She's had to watch her yin-yang BFF Irys get brazenly kissed right in front of her, her guildmate Biboo sympathize and fraternize with a rival just cuz she's cute ("cute is a pretty compelling argument..."), and become entangled in a trolling rivalry with Raora (the cute rival in question). And boy, is Kronii in over her head when up against a Southern Italian! xD

    Just the exchange where Raora keeps pretending not to know how to pronounce Kronii's new name, comically mispronouncing it... it took Kronii awhile to understand that she's being trolled, but Raora is still at it!

    And the turf war over their neighboring spaces, with Kronii being the sedentary ruler with a big sitting duck of a target (a house she's building), meanwhile Raora is the nomadic raider with no permanent structure for Kronii to retaliate against -- muahaha! xD

    I'm going to have to watch the full vod of Raora's adventures. There's another clip of her teasing Gigi as well. She's such a menace!

    The JP girl who she reminds me of most is the Koronator. And she leans into her sexiness, and her drawing skills, so she's also like the Pirate Goddess. And so, similar to the Goobinator -- but without the Aqua-like social awkwardness and idol role.

    The Goobinator used to be the most gremlin-terror-troll-menace in an open-ended group setting, but perhaps family life has mellowed her out and made her identify more with the responsible side than the child-like instigator role... or maybe she still has that side in her, which will come out in this new setting?

    Who knows? Can't wait to see!

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  101. Okayu beat Zelda II! I'm very proud of her, not only for playing the game and transmitting it to the next generation, but for sticking with it long enough to beat it!

    I'm happy whenever anyone plays a retro game, to preserve the classics, but this is a notoriously difficult game and something of a black sheep in the Zelda family. But it's still my favorite one, always has been! ^_^

    It's not as impossible as I thought it was -- I forgot that once you reach the final palace, you can continue from there when you run out of lives. For some reason, I thought you had to go all the way back to the beginning. I haven't played it in awhile. It's still one of the most difficult games in history, but it's not impossible -- especially when you have a crowd of supporters cheering you on!

    And in Glorious Nippon, every week is retro week! Subaru just beat Super Mario Bros 3, after several streams of hard work, and a well deserved victory! Watame played Super Mario Bros for the first time, getting close to the end of the game, and said it's difficult but fun! And Fubuki is playing Super Mario Bros 3, the updated version for the Super Mario All-Stars collection!

    And Raora just finished Klonoa 2, and will be playing Super Mario 64 this week! She is definitely an honorary JP in my book, except for the language barrier.

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  102. On a hunch, I searched to see what dialect of Nihongo the Legendary Idol Gamer Maid speaks, and someone found a clip of her saying "chau" instead of "chigau", so they suspect she's from Kansai, although she has adopted a more standard Tokyo after moving there to work in Hololive.

    Perhaps I shouldn't be surprised, since vtubers are theatrical entertainers, comedians, and divas -- all of which are more common in non-standard dialect regions of a country, whether Japan or otherwise.

    Aqua has a very sing-song intonation when speaking as well. Even just a few syllables like "nande?" or "nani kore?" and she hits a whole scale of notes! And she has a very hearty laugh. More like someone from the East Coast in America -- like her distant cousin, the Goobmeister.

    There's another clip where Laplus says that she's from Tochigi, when discussing regional dialects. So she's another Easterner, and on the reserved and not-so-theatrical side, true to the Eastern type. Lui must also be from the East or North, but I can't find any info on it. And Mio has said she's from Gunma Prefecture, in the East. She's mellow and reserved as well.

    When Shion came back for Aqua's final month, I noticed that she sounds similar to Subaru -- high-energy, boisterous, no-filter. I wonder if she's from Kansai as well?

    And when I watch Pekora's retro game streams, I hear a very sing-song intonation from her as well. She has a very theatrical personality. I wouldn't be surprised if she's from Kansai or the West as well.

    Someone on Reddit says Marine has a Nagoya accent -- they didn't provide any info, so I don't know if they really know what they're talking about. But I could see it being true -- she's half-theatrical like someone from Kansai, but also half mellow-and-reserved like someone from Kanto. And Nagoya is right on the border between the East and West, like how Ohio lies on the border between the Midwest / West and back East.

    It's always like going on a rollercoaster, listening to the Pirate Goddess -- one moment she's speaking a mile a minute and laughing heartily, the next moment she's speaking in a lullaby voice and only gently chuckling. Fascinating personality. ^_^

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  103. Watching a clip of the Koronator doing impressions of her colleagues while playing the Treasure Mountain game, I was reminded that people from non-standard dialect regions are better and changing their speech, doing impressions, etc. Not just doing another dialect, but impersonating a particular individual.

    That's just part of being theatrical -- sometimes one role requires one dialect, sometimes a different role requires a different dialect. Or one role is bubbly, while another role is melancholy. A theatrical entertainer has to be able to switch into a variety of roles. And Korosan is very skilled at this -- much like the Goobmeister.

    There's a good idea for a Hololive game show -- impersonating someone else! Gooba would win that easily within EN -- in JP, my bets are on Korone or Marine.

    To be fair, the spoken line would have to be neutral regarding vocabulary, identifiers like "I'm a shark," etc. Just a line of ordinary dialog -- and the contestant has to speak it in someone else's individual accent. Then everyone else guesses who the contestant is impersonating.

    When it's someone else's turn, perhaps the line of dialog should remain the same, just to be fair across contestants. But now they have to pick someone new to impersonate.

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  104. I bet Kiara and Raora can do good impersonations, too, but it may be hard to tell since they'd show these skills in German and Italian, perhaps not so much in English.

    They're both from non-standard dialect regions of their countries (Bavarian Austria, Southern Italy).

    And both have very hearty laughs -- I was sore from laughing so hard at those clips of Raora trolling Kronii about who is the real queen, how to pronounce Kronii's new name, etc. It was hilarious in itself, but hearing Raora splitting her own sides laughing just compounds the effect! xD

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  105. Gooba harking back to the Puritan witch-hunting roots of her home region, by launching a board of anonymous accusations and building a gaol and gallows for the accused, lol.

    She was thinking of how to punish the criminals, but maybe in true witch-hunting fashion, the punishment should be part of the trial itself -- throw someone into the river while tied up, and if she drowns she's innocent, if she floats she's guilty. (The witch-hunter wins either way.)

    With the gallows, let them drop while hanging from a noose -- if their neck snaps, they were innocent, if they survive, they're guilty.

    Or something involving fire, that was another one -- trial by fire. Burn her at the stake, if she gets cremated, she's innocent, if she survives, she's guilty.

    The possibilities are endless!

    Also necessary to remind everyone that the witch trials, the Spanish Inquisition, etc. was NOT part of the Dark Ages. Dark Age people are humble and compassionate and chivalrous. The witch trials and Spanish Inquisition came after the rise of humanism in the 14th C, the Renaissance, the Scientific Revolution, and leading up to the Enlightenment.

    Really, it's the rise of the central state's authority, as the threat of nomadic raiders recedes into the background. During the Dark Ages, this threat was in the forefront, and the central state was weak -- hence, no agency to conduct such highly centralized authoritarian persecutions. But when the nomads were beaten back by 1300, and the state began centralizing again (as in Classical times), there was now an agency strong and hierarchical enough to mete out such persecution.

    Classical and Enlightened people are arrogant, callous, and cruel. That's the origin of those "Medieval" torture devices -- which as I pointed out in the comments to the Imperial Disintegration post, are all from post-1300, NOT 300-1300.

    That includes one of America's early Euro LARPs, before we became our own culture -- the Salem Witch Trials. Would not have happened in early American history, if Europeans had colonized America a thousand years earlier than they actually did.

    Now THERE is some real alternate history to ponder -- what if America were settled during the Old World Dark Ages, rather than the Humanist, Renaissance, Reformation / Mass Literacy / Printing Press, Scientific Revolution, and Enlightenment era?

    Well, probably not much in the abstract -- cuz even in the 500s and 600s, we would still be settling a nomad-dominant land, rather than one with strong central states and the nomadic raiders in the background. I.e., exactly like we encountered in the 1500s and 1600s.

    But our early LARP-ing would've been more Dark Age, perhaps we would've stayed Catholic -- or Orthodox. Something inherited from Dark Age Europe, at any rate, not the Humanist, Renaissance, etc. eras.

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  106. And for those who don't watch vtubers, Gooba is clearly being satirical, like the Monty Python sketches about the Spanish Inquisition. She's not a latter-day Puritan witch-hunter -- if anything, she's a latter-day *target* of witchcraft accusations by latter-day Puritanical witch-hunters, AKA the woketard cancel culture freakshows.

    She's a cute young girl who effortlessly casts her spell of feminine charm and charisma to bewitch legions of male fans, and even some female fans too!

    It didn't take long before some literal-who non-ironically accused her of baiting actual pedos by being a short, ditzy girl who can't do arithmetic, but relies on child-like cuteness to get out of trouble. Trying to sick a cancel-culture mob on her, like she was trying to take things right back to Salem.

    Fortunately fans of Hololive are not woketard scum, so the wannabe's crusade went nowhere, and Gura even mocked her in an aside during a following stream.

    The Goobinator has millions of fans around the world -- if someone tries to witch-hunt her, we will gang up and burn the self-appointed moralizing hunters, and protect the innocent so-called witch.

    With vtubers at other companies, who knows? But don't fuck with Hololive, you jealous hater nobodies. ^_^

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  107. Is the majority of Holo JP from Kansai and the West? Fubuki is from Kansai, and has a theatrical personality and hearty laugh.

    Speaking of Watame, she's from Kansai as well. Not as theatrical as Subaru, but she does have a diva side that comes out in her karaoke and concert performances -- and she has very good English pronunciation, as shown in a clip of her talking with Mori in English.

    Theatrical types can change their accent easily, to assume different roles -- and that makes them good at foreign pronunciation, although not necessarily foreign syntax and word choice.

    Fubuki and the Koronator also have good English pronunciation.

    And so does Suisei! I didn't see her frequently before she came back recently for Aqua's final months. But she definitely strikes me as a Kansai girl. Blunt, frank, no-nonsense, casual / informal -- not part of the cult of politeness that is typical in standard dialect regions (e.g. Midwestern niceness, in America). My first thought was, "She's like Isuzu Yamada's character in Yojimbo!" That actress was from Osaka. And of course, she's a theatrical diva type, as one of Hololive's star singers and dancers.

    There's a clip of Chloe referring to McDonald's as "makudo" (Kansai abbreviation) instead of "makku" (Eastern abbreviation). I would not have guessed that she's from Kansai, since she's not very theatrical, and I don't know how good her English pronunciation is, or how well she can impersonate other people. But she does have a more casual, informal personality when chatting on stream, so perhaps she's a bit of the no-filter type instead of cult of politeness type.

    There's a clip of Roboco mentioning that when she was a child, she spent some time overseas and started to learn English from everyday life, but when she came back to Japan, she had to learn it in a classroom and was a rebellious child and didn't stick with it. The teacher said her pronunciation was very good, although her word order and vocabulary needed improvement. Some commenters on Reddit say she occasionally uses a Kansai phrase or two. Is she from there, too? I don't know enough about her to say.

    And Noel is known to be from Kyushu. She's the Southern belle of Hololive JP. Kansai is like the Northeast of America, Kyushu is like the Southeast of America.

    What I'm trying to say is, there are far many more Kansai and Westerners in Hololive JP than you might think from the headquarters being in Tokyo. Comedians, theatrical types, divas, and the theatrical style of video games with their origins in the arcades, all come from Kansai more than Kanto or Tohoku. Including Nintendo and Capcom!

    Perhaps it's no surprise to Japanese audiences that there are so many Kansai people in Holo JP, but most overseas viewers probably assume every Japanese person grew up in the Tokyo region.

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  108. As for other Easterners, I think Towa must be from the East / North, because she reminds me of Moom and Kronii, who are both Midwesterners / Westerners in America / Canada.

    More reserved, playing the straight man type rather than the theatrical instigator, more easily scandalized, and on the emo side. Emo, as in bottling up your emotions most of the time, but occasionally needing to unleash them -- the flipside of Midwestern niceness is Midwestern emo.

    I think both Towa and Moom would take that comparison as a compliment. ^_^ Just like Okayu and Fauna would appreciate the comparison to each other. ^_^

    And although she may have trouble accepting that she is three heavy hitters from Holo JP all jam-packed into one eccentric personality, I hope the Goobmeister takes it to heart when I compare her to Korone, Marine, and Aqua. It's not just handing out praise, I'm only interested in the truth. And it's true! ^_^

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  109. Is Zelda II the darkest adventure game? Certainly there are horror, sci-fi, and crime games that are darker. I mean in a genre where it's usually aesthetically neutral, or has the full range of light and dark, perhaps the darkness is only a minor part along the otherwise uplifting hero's quest.

    The first Zelda game is neutral and light, only somewhat dark. The color palette, music, locations, etc. Only the dungeons have a dark side to them.

    In Zelda II, the dungeons (temples / palaces) take up a lot more of the total playing time. And they have more ominous music than in other adventure games. Also, the level design is usually downward, like you're physically descending further from the light ordinary world and toward the depths of Hell. Every temple's entrance begins with going down an elevator, and the special items and bosses require you to go further and further down.

    The next game, A Link to the Past, did not do this -- quite often the dungeons require you to go higher and higher up toward the special items and bosses. Ascending a tower.

    In fact, in the overworld, Zelda II requires you to go further and further downward. There's an occasional turn back toward the north, but mostly your quest involves heading further south, and you start near the top / north of the map. This is the opposite of Zelda 1's overworld, where you start at the bottom / south of the map and gradually make your way toward the top / north, where the final boss is. The same location -- Death Mountain -- is at the top of the map in Zelda 1, and closer to the bottom in Zelda II.

    They're really trying to hammer you with the feeling of descending rather than ascending, sinking rather than climbing.

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  110. And probably half of the non-dungeon action scenes take place in caves, which begin in near-total darkness, and even once you get the candle, their backgrounds are still pretty dark, and there's a general feeling of claustrophobia in these caves.

    Other overworld areas that are dark are the forests (both the early and especially the later ones), the cemeteries (with the theme of death as well), and even the swamps are cloudy and overcast. The grassland is somewhat light, and the only really bright region -- the desert -- is also parched dry and barren of most life. The water regions are somewhat light, but usually threatened by gaps in a bridge or chasms between islands you need to jump over, so also not very cheerful or serene.

    The towns are mostly bright, but two of them are dark! One of them has seemingly neutral townsfolk who transform into bats that attack you if you talk to them. And the town music begins fairly upbeat and chipper, but goes into a sad wistful tone after awhile. The only sustained positive-tone music is the overworld triumphal march. The battle music is dark and ominous, and the dungeon music and boss music more so.

    The enemies in Zelda II look monstrous or demonic as well, not kawaii as in other adventure games. Only the "slime" (bit / bot) looks kawaii.

    Darkest adventure game ever!

    Aside from Zelda II, my favorite games are probably Metroid and Castlevania II: Simon's Quest (another black sheep that is actually great). Non-linear exploration, adventure, with RPG elements, and a very dark / spooky / Sublime aesthetic throughout.

    But Metroid is sci-fi, so you can expect a lot of darkness cuz it's set in desolate outer space. And Castlevania is horror-themed, so darkness is expected there too.

    None of the other Zelda games are as dark as Zelda II, and I don't think any other adventure game is either. It's a real stand-out in the genre, and I would never have thought of any of this while being engrossed in the gameplay myself -- just a series of observations that only clicked while watching someone else play it, namely the Sexy Catto herself. ^_^

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  111. Castlevania II is similar to Zelda II in focusing on downward exploration, rather than upward. Whenever there's a branching path, it always leads to a lower / subterranean level, not a higher one (e.g., high up in the trees, up a waterfall, up a clock tower, etc.).

    At one point, you have to open up a secret passage below a river, instead of, say, floating over it, building a bridge upwards, climbing a vine a la Super Mario Bros, etc.

    Inside the mansions, you do both upward, and then downward scrolling, and the end-point is about the same height as the entrance. Not as downward-oriented as the Zelda II temples / palaces.

    However, the final boss, Dracula, requires 3 or 4 screens worth of downward scrolling from the entrance to his castle. It's more of a deep underground crypt, to reinforce the story that he's dead and scattered into pieces, which need to be resurrected before you can actually fight him.

    In most other Castlevania games, Dracula is waiting in the upper level of a castle, with a special final staircase leading to his room, to emphasize the "climbing a tower" route.

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  112. Metroid has a wide variety of upward and downward exploration, it's not as strictly downward-oriented as Zelda II or Castlevania II.

    The final level is at the top of the map, but once you enter it, you explore entirely downward (or straight across), descending into the depths of that region.

    Only after you beat the final boss, Mother Brain, do you undertake one last upward ascent out of that Hell, to get to your escape ship on the surface before it all blows up.

    So at least in their final levels, all three of these games use a downward path of exploration until the final boss.

    There's something to this "downward exploration" making these games unusual, and apparently I enjoy that since these are probably my three favorite video games.

    Other platform / adventure games like Super Mario 2 (AKA Super Mario USA, in Japan) and Super Mario World have some downward-scrolling levels -- but many more upward-scrolling levels.

    I'm glad for any kind of vertical scrolling -- usually video games started out horizontally scrolling only. Adding vertical paths to the level design really brought elevated, as it were, the platforming concept. Made level designs more complex and rich.

    Tellingly, both latter-day platformers that are popular outside of Japan -- Jump King and Getting Over It -- are mostly or entirely vertically scrolling, and you go upwards rather than downwards.

    Maybe there's some other I don't know about where you mainly descend and explore subterranean spaces... Terraria? I know that can involve both upwards and downwards exploration, and each time you start a new game, the world is unique. But from what I've seen of others playing it, I think it's more downward-oriented.

    For that matter, Minecraft has far more to explore in the downward / subterranean direction, and not quite as much in the upwards direction -- unless you build a tower of your own. There are sometimes hills and mountains and waterfalls, but there's always the option to dig downwards, find an open pocket of subterranean caverns, and go exploring there for hours.

    Not surprisingly, two of the few games from the 21st century that I don't mind or actually like.

    They both have an overall Edenic look and feel in the overworld, but they do have that dark subterranean space as well. They were both based on the classic era, so it naturally occurred to them to do that. Adventure must be downward, not just upward!

    Seems to be a Dark Age theme (or Bronze Age). Underground, underwater, caves rather than open areas, not so much ascending very tall towers or castles in the sky, etc. Not necessarily about Hell or the Underworld, could be like Grendel's deep underwater den in Beowulf.

    And so, things that naturally appeal to Americans and Japanese, as the only Dark Age cultures that have distant origins in Eurasia, which cycled out of the Dark Ages in 1300.

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  113. Castlevania II also has downward scrolling and burrowing underground, inside the homes within a town. Many of them have a false floor that can be removed, then you scroll down 2 screens to find a hidden room. None of them have a special hidden room that is above the height of the entrance, requiring an ascending staircase, climbing a vine, etc. It's all underground.

    In fact, this game has a Hollow Earth geography, as you can see from the full map:

    https://www.castlevaniacrypt.com/wp-content/img/cv2/maps/transylvania.png

    When there's a branching path, the subterranean one spits you out in a new area that has an apparently open sky with light, no ceiling visible, and so on. This implies a Hollow Earth world, where the above-ground world is separated from a subterranean world that is just as light and open.

    The map included with the game does not show this, and implies that every location is above-ground. So the subterranean path is perhaps meant to simulate a 3D change of location that cannot be made in a 2D side-scroller.

    But these alternate paths are all clearly subterranean, with a hard rocky earthy low ceiling, as though you're tunneling underground. Within the game itself, ignoring the external illustrated map from the manual, this is a Hollow Earth geography.

    There are no alternate paths where you ascend. There's on ambiguous case, where you meet a dead-end at a cliff, and a tornado takes you "around" it -- but it doesn't show you rising in elevation, just traveling horizontally across it. So, probably more like around, at the same elevation, not lifting you up onto the top of the cliff.

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  114. The use of underground locations for neutral or positive locations -- not just negative ones like Hell or the underworld or a dungeon -- reinforces the Dark Age atmosphere of nomads roaming around above-ground, and wanting your home to be a well-protected bunker underground.

    Pit-homes were popular during pre-Classical times, as well as during the Dark Ages. Hobbit homes are a latter-day reimagining of them. And fantastical underground cavern homes, like where the gnomes live in King's Quest V. And latter-day Dark Age architecture like American, where the living room is sunken, the mall has a central court that's sunken, and where many Midcentury and Brutalist buildings were built below-grade to give them a cozy pit-home feel.

    The basement was a key part of the Midcentury All-American dream home -- not the dank, creepy cellar of Old World-style homes, but a cozy, lively everyday space. Usually used as a rec room, rompus room, etc. Maybe with some "clerestory" windows, which were actually at ground level, but function as clerestory windows within the Hobbit-home basement.

    Europeans have no idea how fun it is to descend into the basement for recreation, horsing around, etc. And only Euro LARP-ing Americans would use "basement-dwelling" as a pejorative -- the basement is often the coolest and most special part of an American home! The creepy, dusty-and-musty place where the mutant freak in the family is hidden away -- is the attic! Americans are scared of the attic, not the basement (unless it's an Olde Worlde cellar, but that's not what we call a basement).

    In Europe, and the Olde Worlde in general, the attic is a highly desirable location -- similar to the American notion of a penthouse apartment. But within a single-family home, the attic is the creepy nether-realm, and the liminal portal-space that we fear is a set of creaky folding stairs that drop down from the ceiling above, that allows the creepy attic-dwellers to descend from the topmost level.

    We want to banish all the negative vibes to a high elevation, not bury them underground -- that's where *we* want to hide in cozy pit-home protection!

    Time for Americans to start using "attic-dwelling" as a pejorative again!

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  115. Imagine not having a sanctuary-bunker with comfy wall-to-wall carpeting, figured wooden built-ins, wood paneling in addition, and textured plaster ceilings -- with low warm bulbs for the evening. Ah, it's just perfect! The finished basement, not the unfinished cellar. With or without a bar, no real American-dream home is complete without it!

    Prehistoric caveman, Dark Age hobbit -- and American utopian.

    Some thing we really took for granted until they were desecrated (carpeting ripped out, walls painted all a dull gray, harsh bright lighting) or ended altogether.

    I have several "screen stations" at home, but the one I do my main writing at, like right now, is in the cozy den, the finished basement.

    The only way it can get better is when my big ol' orange-and-cream cat is nearby taking a nap on the harvest gold corduroy couch, on top of a '70s earth-tones chevron afghan. Nothing closer to pure American bliss and peace than that... ^_^

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  116. Old Worlders after 1300, prefer storing their valuables in a high-elevation location, like the attic. That's where all the antique furniture, family heirlooms, jewels, whatever, are hidden. They live in societies with strong central states, where these high-elevation locations are not vulnerable to nomadic raiders throwing up a ladder against the outer wall, breaking and entering the attic, and running back down the ladder with all their precious wealth.

    Americans live in a weak-state society, with instability and nomadic dominance. In that case, we're like Dark Age Europeans who buried their wealth underground in hoards. In our minds, treasure is meant to be buried, not lifted up into a tower's attic. Both are safe, but one is much safer.

    Plus buried treasure can be hidden with no other identifiable human markings to give it away to raiders and thieves. You need a special map, where X marks the spot!

    You can't hide away treasure, or anything, suspended in the air with no manmade structures nearby. A permanently floating balloon? It'll come down eventually. To fight gravity and flagging energy reserves of something that is meant to be constantly hovering high up in the air, you have to build a support below it, and that tall structure is very easy to see for raiders and thieves. No need for a secret map!

    This also explains the defensive advantage of bunkers and pit-homes over towers and castles, as safe as the latter can be made with moats, drawbridges, portcullises, windowless walls, etc.

    First, an underground bunker is far less conspicuous -- one little opening, which itself can be disguised. You can't disguise an above-ground fortress, especially hilltop fortresses that make use of the high-ground advantage -- VERY conspicuous.

    Both have narrow entrances that can be easily defended.

    But only a bunker is surrounded by fairly impenetrable material -- the earth itself! Grass and plants and potentially an entire forest above ground, harder soil underneath, and perhaps solid rock as well! There's no way to do a simple end-run around the entrance. There's too much additional impenetrable material surrounding the bunker proper, on all sides.

    The above-ground building, even if it's a sturdy fortress, is surrounded by open air, leaving it vulnerable to attacks that can breach its surface -- even away from the narrow main entrance. Even without breaching its surface, ladders and siege engines and nowadays flying things, manned or unmanned, can scale up over its walls, attack the clerestory windows to enter, etc.

    There are no drones or manned vehicles that burrow underground to attack bunkers away from their main entrance.

    Underground is necessarily more easily defended, being surrounded by impenetrable material, unlike above-ground buildings.

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  117. One last remark about Castlevania II, it's one of the last games in the series to be set primarily in the outdoors, rather than almost entirely within buildings. Really adds to the Dark Age nomadic roaming atmosphere.

    The indoor locations have fairly low ceilings and lots of walls and labyrinthine paths through them, not light-airy-open-and-tall.

    And the landscapes are all on the dark, creepy, or sublime side, not like most adventure games (cuz it's a crossover with the horror genre).

    Then there's the day-to-night cycle, for added darkness, and a separate spookier musical score!

    Starting with Symphony of the Night, Castlevania games were set mainly inside of buildings, albeit large and extensive ones. They're more Gothic, Baroque, and Neoclassical than Dark Age. They often have Gothic cathedrals with very tall ceilings, wide-open space, and stained-glass windows. Not the low-ceiling, labyrinthine crypts of the earlier Castlevania games, with the Dark Age settings.

    The soundtracks became more refined as well, to suggest a Gothic cathedral, Renaissance palace, or Baroque great hall. The early Castlevania games were not monophonic Gregorian chant, which would've been true to the Dark Ages, but they still weren't as refined. More visceral, more influenced by metal and jazz and other spooky and heart-pumping action styles.

    https://www.youtube.com/watch?v=HvFl7Ec-Gmw

    The Symphony-and-after games are more like Gothic novels, whereas the earlier ones were derived from Bronze Age and Dark Age heroic epic journeys / quests, with fantastical overworlds that you roam around.

    Only Order of Ecclesia, the last proper Castlevania game (for the DS), returned to the overworld / outdoors setting. A real breath of fresh air, as it were.

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  118. I was an early defender of carpeting during the 2010s desecration of all interior and exterior designed spaces. Mainly by championing carpet with color, texture, and pattern, if you can't stand oatmeal carpet and are tempted to do hardwood:

    https://akinokure.blogspot.com/2015/11/plaid-carpeting-appreciation.html

    You can see how against-the-grain it was at the time (and probably still), with hardly anyone chiming in to agree or say "Thank you!" and one being a multi-paragraph neolib cost-cutting striver bland-o-rama apologia. Even saying that color, texture, and pattern on the walls is too distracting and painfully over-stimulating of the senses! That's who has destroyed America in the neolib era, but especially during the iconoclasm of the 2010s.

    Maybe by now, with the '70s revival under way, there are more late Millennials or especially Zoomers who appreciate the carpeted look, and colored / patterned / textured carpet in particular. Can't have that '70s Boho or Midcentury Modern look without colored carpeting.

    For those in a position to make a positive change, go for red carpeting -- a rich, lush shade of red. Doesn't even have to have a pattern. Texture according to your taste. But nothing is so versatile for all-American interiors as red carpeting.

    It goes great with any sort of wood paneling of any stain, wooden furniture of any stain, anything in the cream / ivory / beige family (natural upholstery, Mod white plastic furniture, earth tone sheepskin throw rug, etc.). It just adds a warm, stimulation, and (at least in the American context) a "touch of class" as they used to say.

    That's the only thing I'd change about my cozy Hobbit den -- RED carpeting.

    Related, the disappearance of portraits for wall decoration by the 2010s:

    https://akinokure.blogspot.com/2015/03/no-more-interest-in-portraits-for-wall.html

    The only interest in portraits that I see today is among anime fans -- usually it's only portraits, not landscapes or compositions with multiple figures at a distance. IDK whether their interests have always been unusual in that way, or if it's a shift in the 2020s.

    But worth emphasizing to counter the dum projection that anime fans are autistic -- in which case, they'd have no interest in character studies like portraits. It would all be machines, devices, vehicles, weapons, buildings, and other inanimate "systems", maybe only insect colonies for living things since that's more of an entire system.

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  119. And a clarification, "not a diva" doesn't mean "can't sing or perform well". Moom and Towa are among the top singers in their branches. But they're the last ones you'd call a diva (as both of them would readily agree).

    Diva, meaning theatrical personality, larger-than-life stage presence, possessed and moved by spirits -- no longer themselves, and not in a shrinking-into-nothing or snuffing-out sort of way, but expanding beyond their ordinary selves, due to possession by various spirits outside of themselves, larger than themselves.

    And I don't mean diva as in "catty, bitchy, and haughty toward others, bossing around her minions, etc." Goob isn't like that at all, and neither is Aqua. That definition is more about delusions of grandeur, rather than actually possessing a larger-than-life stage-presence.

    Larger-than-life lolis... paradoxical, but not a contradiction. The idol phenomenon in Japan is one of the heighest forms of this paradoxical form of culture. Fascinating. ^_^

    Seeing Irys getting kabedon'd by loli Biboo in EN Reco was another example, imitating anime scenes. Overwhelmed by tiny-ness -- it can totally happen!

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  120. Beverly Hills Brutalism -- after enjoying so many of the locations in The Bodyguard, I wondered if there were any Brutalist buildings in the city. Looks like one of the most American imperial styles skipped right over Beverly Hills, until I happened upon this home, which already raised my suspicions cuz Brutalism was rarely used for single-family homes:

    https://www.foxla.com/news/68-million-beverly-hills-brutalist-mansion-for-sale

    First of all, only in L.A. does the local eye-candy news anchor know the term "Brutalism", apply it correctly, and have an eager interest in American Modern architecture!

    It really exposes the black hole of culture that is the East Coast, where not even the (transplant) art hoes would know that much, let alone be fond of architecture. And would not be as good-looking either. And of course, when they take notice of Brutalism at all back East, it's only to blaspheme it, iconoclastically demolish it, and desecrate its site with some tacky boring garbaggio in its place.

    More pictures from the realtor here:

    https://weahomes.com/properties/property/?id=1137

    It does seem to be Brutalist -- concrete, geometrically minimalist, fortress-like (with some Dark Age crenellated battlements), few windows and which are thin slits (aside from the back, which is open to the hills), lush pastoral landscaping surrounding it, non-urban location.

    But wow, is that interior devoid of anything! All Brutalist interiors were sumptuous yet restrained Midcentury Modern, even the fortress-like residential buildings like the Mary Singleton Senior Center in Jacksonville, FL:

    https://jaxpsychogeo.com/north/mary-singleton-senior-center/

    At the Beverly Hills compound, there's no color, hardly any texture, no patterns, very little ornament on the concrete itself -- whereas Brutalism would have exposed the aggregate, or left more woodgrain impressions from the formwork, or carved it into corduroy-esque ribbed lines.

    Well, maybe it used to look nice, but some 2010s iconoclast destroyed all the Midcentury grandeur within the interior and put the standard 2010s suite of sensory-deprivation stuff in its place...

    Only to find out that this home was *built* in 2016 -- no wonder! Props for using Brutalism for the overarching structure, which was bitterly hated and demolished by anti-American woketards at that time (and still is). But that explains why the interior is so sparse, bland, and homogenous across color, pattern, texture, line / shape / volume.

    The home on that site before the 2016 one replaced it, was built in 1971 and was some form of Midcentury Modern, according to a Facebook post related to the interior decorator Arthur Elrod. If that building no longer exists, the present one should at least reincarnate its interior scheme, and make it much more lively and sublime -- whereas now it's lifeless and dull, not stunning or ominous or threatening or edgy.

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  121. Without seeing the original interior, though, I can come up with some no-brainer improvements --

    Red carpeting throughout

    More plants of various sizes and elevations

    The couches in the semi-circle should have rectangular rosewood or walnut slabs wrapping around them and upholstery that's in a beige (yellow / tan type) and brown two-tone with a striking geometric pattern (like a chevron, or diagonals)

    A huge chrome (not aluminum, not stainless steel) sculpture that's an abstract geometric shape -- like a cube, where the thick edges are done in chrome, and the faces are filled in with figured wooden panels (teak, walnut, rosewood, etc.)

    Symmetric wall units on the left and right sides of the living room, in warm-stained wood, with various wabi-sabi inspired studio pottery occupying some of the units

    Large wall art that is multi-colored but also wabi-sabi -- like the drip-glaze aesthetic of pottery of that time, but just on a large-scale canvas instead of a stoneware vessel

    Large-scale macrame wall hanging, with some wooden beads and some chrome accents as well (rarely used in macrame, but would make for a more striking Midcentury Modern look)

    Warmer / yellower lightbulbs, or at least some textured lampshades that are tan / beige (current lighting is too harsh)

    The sunken home theater needs figured wooden steps like the Midcentury conversation pits, to highlight its sunken nature

    The entire kitchen needs to lose that aluminum and stainless steel, and RETVRN to figured woods, in a warm stain, with some appliances and accents having chrome, black bakelite, etc. It looks way to utilitarian and industrial and Steampunk (albeit expensive), not futuristic or Jetsons utopian

    The landscaping around back needs more plants of medium and tall sizes, some with some colors as well

    ...Anyway, you see how much difference the interior makes for the overall site. And interiors from the '60s and '70s would never have been that stark and sense-depriving, even if the exterior were like a Bronze Age or Dark Age fortress. In fact, *especially* in those cases, they made sure to make it cozy and Hobbit home and castle-like -- not dungeon-like -- on the interior.

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  122. The chrome sculpture I'm imagining is tilted so one vertex is lower than the others, and another is higher than all others, and it's suspended in the air maybe 6 or 7 feet above the floor. Either hanging from the ceiling like a mobile sculpture, or resting on a slab base made from some other strikingly sublime yet restrained material, like a heavily marbled stone slab. The support column should be rectangular in cross-section, like the cube's edges, also made from chrome... and why not place it off-center for a nice cantilevered effect, making its suspension in the air look all the more magical.

    For $68 million, all these sorts of things should be done already!

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  123. And a pond on the interior! The back does have a nice pool with colored tile, enhancing the paradisical landscape back there. But a residential Brutalist building should have water on the interior as well -- like the Mary Singleton Senior Center!

    Check out the image of the cafeteria, on the back right side you can see a blurry / misty fountain of water. That is part of a small pond, which is inside a concrete container. These standing ponds continue along the back of the cafeteria, and line one side of the main corridor. They have blue tile inside, although you can't see that from the photos.

    In the last image, with the architect standing in the hallway, these ponds can be seen along the left side.

    And then there's the image of the larger reflecting pool at ground level.

    Water bodies of varying sizes, shapes, and motion / activity were a staple in the interior decoration of the apex of American Modern architecture -- malls. Small pools inside a container, larger ponds at ground level, moving streams, fountains, waterfalls, you name it!

    Also a staple in other American Modern buildings, like the East Building at the National Gallery of Art, which has an underground cascade along an irregular rocky surface.

    Even the most Bauhaus-y buildings in America, like the Seagram Building, have ponds and fountains! Just not as dynamic and sublime as the water elements in more strictly American styles, like the mall, or a Brutalist building.

    Where to put them in the Beverly Hills fortress? They make nice room dividers, as the Mary Singleton Senior Center proves. Perhaps on either side of the living room, as it opens to the other rooms on the left and right.

    There are already little dividing elements there -- just turn them into standing ponds in a concrete container, maybe with a small fountain inside, and flanked at either end by planters with medium-size plants... or have a row of planters just behind the "outer" long side of the pond's container, which would make them more of a dividing screen, to further segment the rooms, while keeping them somewhat open and mysterious.

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  124. One of the existing dividing elements on the left side of the living room is a small fireplace -- when that's replaced with a pond and planters, relocate the fireplace to the main area of the living room, not in the center of the couch arrangement, but somewhat further back toward the rear window and outdoor pool. That would segment the indoors from the outdoors a little better.

    And make it a bit larger in scale -- not that you need a large roaring fire in Southern California, but so that it better divides the indoors and outdoors, is more striking and arresting, a focal piece of the living room. And not in aluminum or stainless steel! Concrete with the aggregate exposed, or flagstone, something primitive and Googie.

    With a Midcentury Modern take on the wooden mantle as well -- large figured wooden slabs in a warm stain, two vertical ones on either side, and another running horizontally over the top, with both ends extending beyond the vertical supports. The owner and the architect wanting a Stonehenge feel -- post and lintel!

    If the stone fireplace + wooden mantle is too much, then scrap the wooden mantle, and just have huge stone slabs forming the left and right side, irregularly / naturally shaped, and another one horizontally forming the top side, a la Stonehenge. As for the back wall of the fireplace, perhaps one single slab, or several tall ones placed side-by-side.

    If the overall feel is supposed to be a cavern or lair, I think the campfire site has to be larger and more prominent, and primitive-looking.

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  125. Apparently the election polling has returned to where they were before Biden was replaced with Harris, with Trump having a substantial lead over Harris:

    https://xcancel.com/LeadingReport/status/1832817734960210106

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    Replies
    1. Awww, thanks for finding and sharing this site!

      Delete
  126. Gooba, thank you and Hololive for improving your model's animation only, and not giving it any plastic surgery. You're too young and too cute to need it anyway...

    I also like the cheeky-brat :3 expression, which is more fitting for you, and as several chatters mentioned last night, makes you more of a visual twin with the Koronator, since you are similar personality-wise (quick-witted comedians with a penchant for cursed and meme-y content, but delivered in a kawaii girly way).

    Just please don't retire the nekomimi pinafore-dress model -- your closest visual link to the now-graduated Legendary Idol Gamer Maid. ^_^

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  127. Speaking of the Aquanator, I was browsing through a reddit post on her accomplishments, and she played and beat Super Ghouls 'n Ghosts! Not only a testament to her gamer skills, but to her aesthetic taste -- one of the best-looking and best-sounding video games ever made.

    Unfortunately there are only clips left, and the vod is privated, due to some autistic permissions BS (it was in 2020).

    That also happened to Korone's stream of Super Castlevania IV, another Hall of Fame game that would be perfect for October.

    But perhaps other Holo honies could play them this October, with permissions ahead of time. They're both classics, and deserve to be preserved.

    Subaru started playing Dragon Quest IV, the remake for the PlayStation. It looks and plays like DQ VII, which I saw Lui play before. It's mostly a 2D overhead game with a distant camera, not immersive or first-person POV -- but you can rotate the world clockwise or counter-clockwise to navigate it in 3D. It's a clever solution to moving around in 3 dimensions, while still keeping the aesthetics of 2D.

    Watching Lui play a DQ game, followed by Subaru playing a DQ game, is a reminder that no two vtubers will deliver the same performance as they tell the story, play the game, etc. One may be skilled and breeze through, another may be comically clumsy at it. One may be a hushed and serious kind of storyteller, like Lui, while Subaru is a more theatrical narrator and participant.

    And speaking of theatrical types playing retro games, Raora started Super Mario 64! If anything, it may be too slow and tutorial-heavy for her ADHD brain! ^_^ She can never be simply Raora -- she wants to be Raorissima!

    If she liked Klonoa so much, she would LOVE the first Sonic the Hedgehog game for the Sega Genesis / Megadrive. No text, all action! And very pretty, aesthetic, with stimulating music.

    I'm glad she likes Minecraft so much, too -- another sign of a finely tuned aesthetic mind!

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  128. Irys has a knack for Dark Age naming conventions, calling herself "the Hot Pink One" -- a descriptive epithet! I already covered the popularity of epithets in Dark Age cultures, and their disappearance in Humanistic / Enlightenment cultures. This epithet was for her character in the EN Reco series, set in a fantasy world, which is usually Dark Age-themed.

    Reminder that the Holo JP girls do not have "family names" but epithets in the first slot of their full name. For example, "Inugami" is not the clan-name of Korone's fictional family. It means "Dog God" or "Doggy God", and is an epithet specific to Korone herself, not the rest of her fictional family.

    It's similar to pro-wrestlers' names, like George "the Animal" Steele, Jake "the Snake" Roberts, or Bobby "the Brain" Heenan. And that's a very fitting comparison, since the Holo JP girls are more in the theatrical performer direction, with heavy kayfabe, compared to other forms of streaming or online content.

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  129. The Moom-meister with a heavy dose of '70s and '90s / y2k songs in her karaoke setlist -- good ol' inquisitive Zoomers, not perpetually stuck in the late 2000s and 2010s like those poor unfortunate Millennials!

    She sings songs from that period as well, but not exclusively. She's curious about good music from any time period.

    And to be fair to the nephilim princess, who is at the tail-end of the Millennials, she includes plenty of Sad Seventies music in her setlists as well. Yesterday in the thrift store they played the Barry Manilow version of "Can't Smile Without You," and that reminded me of Iwys singing the superior version by the Carpenters. ^_^

    Ah, but who will be beat the other to singing the Carpenters version of "Rainbow Connection"? It's anybody's race! Hehe.

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  130. For Moom, Iwys, Goob, and other boy-band appreciators, if you're looking for new songs in the genre to explore, and hopefully to sing in karaoke.

    These were huge hits at the time, by legends in the genre, but they haven't been as well preserved as others have, like Jackson 5, Backstreet Boys, and One Direction. But you'd like them -- and so would your audiences...

    New Edition, "Candy Girl" and "Popcorn Love"

    https://www.youtube.com/watch?v=YtbFPLK-JWI

    https://www.youtube.com/watch?v=1XfErNl9J70

    New Kids on the Block, "You've Got It (The Right Stuff)" and "Please Don't Go Girl"

    https://www.youtube.com/watch?v=tbIEwIwYz-c

    https://www.youtube.com/watch?v=2txArOEsLPc

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  131. Here is an excellent new blog post on the rapid decline of Germanic and Slavic names in the High Middle Ages in favour of Frankish (French), Latin, Greek, and Biblical (Hebrew) names. Especially in England:

    https://www.edwest.co.uk/p/there-are-no-more-chads-in-england

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  132. Typically clueless analysis from the cultural historian type. The descriptive level is correct, but already well known. I gave a definitive analysis whenever it was -- late last year or earlier this year, on British names and ethnogenesis.

    Just as a reminder / corrective --

    The Normans were not French, since the Kingdom of France, soon to be the French Empire, was headquartered in Paris, in NE France, under the Capets. This reflects their meta-ethnic frontier with their meta-ethnic nemesis -- the Vikings.

    The Normans were former Vikings who settled down in WESTERN France, in a spot that now bears their name (Normandy). They were given this land by the Capetians in Paris in order to keep them at bay -- they were rivals, not a unified culture.

    Normandy is just north of Anjou, home of the even fiercer rivals of the Capets in Paris -- the Angevins.

    The expansion of the French Empire required subduing both of these regional rivals, mainly under Philip Augustus circa 1200. As French ethnogenesis proceeded, from its core in the NE, these Western French regions gradually adopted / assimilated to an entirely NEW Parisian / French culture, distinct from the Frankish one that preceeded it.

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  133. On the British side, the Normans and their Plantagenet successors both hailed from these non-standard / peripheral regions of France, and were therefore not French.

    There was no such thing as a unified, homogeneous thing as "French" in 1066. And to the extent that it was incubating at that time, it was doing so in and around Paris, not Normandy or Anjou, whose Norman and Angevin people were anti-French until they were subdued and assimilated by the French in the following centuries.

    That's why it's called the Norman conquest of England -- not the French conquest of England. France never conquered England.

    And when the Normans conquered the territory now in England, it was not England, since it was not unified, nor was it ruled by the English. Who was in control by the 11th C? -- why, the very same meta-ethnic nemesis that spawned the French Empire, namely the Vikings!

    Harold Godwinson was not English or British -- as you can tell by his Scandinavian first name. His mother was Gytha Thorkelsdottir -- how very English, indeed. She was in fact Danish, and not just any ol' Dane -- she was the daughter of a Danish chieftain (Thorgil Sprakling), and sister of the sitting regent of Denmark (Ulf Thorgilsson).

    Harold's father may have been a local Anglo-Saxon leader, but it was *he* who was marrying *into* political power -- which was exercised by the Vikings, who had invaded and conquered much of English territory and were even ruling from there, as part of their North Sea Empire.

    Harold's rival just before the Normans invaded was another Viking named Harold -- Harald Hardrada, the King of Norway, who invaded York in 1066.

    And so, the Norman conquest was not a defeat for the English -- but a liberation of the various Anglo-Saxon peoples from their Viking overlords.

    William the Conqueror was the only claimant who was not tainted by kinship to the Viking rulers -- his great-great-great-grandfather was Rollo, a Viking raider who first landed in NW France, but not a ruler. And by William's time, they were no longer Viking raiders, but sedentary nobility in Normandy, separated from the actual Viking rulers.

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  134. *That* is why the subjects of the Normans came to adopt various Normans cultural signifiers, such as given names and some vocabulary. It was as a grateful tribute to their liberators for ridding them of their meta-ethnic nemesis, the Vikings.

    It was most definitely *not* a fad or fashion -- the dumbest idea in cultural history. It's ethnogenesis, the creation of an entirely new collective identity -- not trying on a new outfit just for the fun of it, only to toss it away after its novelty has worn off, and then repeating the cycle all over again.

    Nor was it adopting any existing culture, whether Anglo-Saxon or Norman, but constructing a whole new culture for a whole new people. They're no longer the same people who they used to be, so those old Anglo-Saxon names were no longer appropriate. They're rid of their meta-ethnic nemesis, and are about to go on an expansionist mission of their own. They're not Anglo-Saxons, nor are they Normans -- they're English or British.

    The Vikings' ouster was spearheaded by another foreign group (the Normans), but this second foreign group was not so different ethnically from the Anglo-Saxons. The Normans were more sedentary, more Christianized, and from closer-by geographically, compared to the Vikings.

    And the Normans and Plantagenets were willing to surrender their language, Norman or Angevin Romance, and adopt English instead, further bridging the meta-ethnic distance between them.

    That's the friendly kind of alliance that can be formed, and ultimately forged into a whole new culture for a whole new people, unlike the antagonism coming from a hostile invasion by a wildly different culture, like when the Vikings invaded and conquered England.

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  135. All empires erase the circumstances of their founding, because they want to mythologize a distant ancient noble descent that has continued unbroken all the way up to the present. This legitimizes them -- whereas telling the truth, that they were not the people they are now, just a few centuries ago, due to the pressure of a meta-ethnic nemesis, which was beat back, and a new culture sprang up in the wake of this initial success of cohesion.

    So we can't expect present-day English / British people to know that they were once invaded and conquered by the Viking Empire, that Harold Godwinson's power came from belonging to a Viking political dynasty from Denmark (not the powerless local Anglo-Saxon connection from his father), that the Normans and Angevins were not French, that the Normans were welcomed and celebrated as liberators who rid England of the Viking menace for good, and that the local Anglo-Saxons in SE England played a major role in this liberation, by championing and supporting the Normans.

    And that that's why SE England has been the epicenter of English / British ethnogenesis ever since, while places far from this meta-ethnic frontier with the Vikings, like Northern England, Scotland, and Ireland, have been non-standard / peripheral / subdued-and-assimilated regions of the British Isles. Just listen to where the Great Vowel Shift of nearly 1000 years ago is still minimal or non-existent even today.

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  136. This erasure of the meta-ethnic nemesis' overlordship began with Geoffrey of Monmouth's seminal mytho-historical work, History of the Kings of Britain, written around 1136. This coincides with the integrative civil war stage of the imperial lifespan -- in this case, "The Anarchy" in England from 1138 to 1153.

    To cut a long story short, the rivalry was ramping up between England and France -- which again means Paris, not Normandy or Anjou or Aquitaine. One faction of the English elite were pro-French (represented by Stephen, from a NE French royal house, Blois), the other was anti-French (Empress Matilda). Take a wild guess which side won -- the traitorous one inviting in foreign rivals, or the nationalist one? As always, the nationalist one.

    The Plantagenet dynasty was born from people who had no political kinship ties to the ruling houses of (NE) France, but only Anjou or Normandy (not French). That was similar to the ouster of the Vikings -- the English again chose a foreign group that was not so hostile to them, as the French were becoming, and that was willing to submit in various cultural ways to the locals (like adopting English instead of Angevin Romance).

    This kind of integrative civil war resolves the major contradictions from the initial "beating back the meta-ethnic nemesis" stage of imperial growth. At first, it's just Us vs. Them -- English vs. Vikings.

    But there is still a lot of variation, heterogeneity, etc. within the Us side of that initial divide against Them. So, which Us is going to be in charge? There are many Us'es! Well, whoever is closest to the meta-ethnic frontier, since they have the highest cohesion (from bearing the brunt of the meta-ethnic nemesis' pressure).

    In this case Empress Matilda and her half-brother Robert Earl of Gloucester, both of whom were from SE England and had no designs on France, whereas their rival Stephen was literally born in NE France and saw England as a satrap of the French Empire.

    This whole sordid civil war is also highly delegitimizing to the eventual victors, cuz it says they don't have a long noble unbroken descent -- they were the winners of a very recent civil war. But unlike the meta-ethnic nemesis, who can be swept away from memory as foreigners, a local / internal faction of a civil war cannot be erased so easily -- so the mytho-history has to admit that part of the story.

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  137. Is it so crazy? In America, most people have forgotten about the Indians as our meta-ethnic nemesis, let alone the circumstances surrounding our cohesion and expansion -- they were semi-nomadic raiders against colonists who were trying to settle down in a new land. We didn't just show up, teach each other our cultures, and then somehow all the Indians are gone and we're still here.

    Instead, our mytho-history has erased this meta-ethnic nemesis stage, and posits succeesive waves of immigration from the Old World. Aside from Mormon mythology, which puts us in the New World long ago, standard American mythology can't claim that we have an ancient unbroken rule where we are now.

    But in the "successive waves of immigration" myth, it at least glosses over the Indians, our wars against them, and expansion at their expense. And we grasp for further "ancient" claims like Columbus reached the Americas in 1492 -- in reality, the Caribbean islands, not America. Or the Vikings reaching North America -- in reality, the far northeastern tip of Canada near Greenland, not America.

    Still, you can sense how desperate we are to erase the meta-ethnic nemesis, and their pressure on us which caused us to transform into an entirely new culture. That makes us look like recent usurpers, which is not very legitimate. So like all other empires, we try to re-imagine ourselves as part of a long and unbroken chain of rulers, where our current rule is carried on by the momentum of history, not recent events.

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  138. Geoffrey of Monmouth's work also uses a popular / universal trope of mytho-history at this stage of the imperial lifespan, namely that they were founded by a prestigious foreigner way way way back when.

    In this case, Brutus, from the prestigious Roman Empire, whose own mytho-history has them being founded by a prestigious foreigner -- Aeneas, from Troy, NOT Greece, according to Virgil's Aeneid, which was also written during / just after an integrative civil war (namely Caesar's Civil War).

    In America, our mytho-history grasps at prestigious Renaissance-era Italians like Christopher Columbus or Vikings like Leif Erikson (less prestigious culture, less central in our myth).

    But the real prestigious foreign founder of America, according to our increasingly popular mythology, were an advanced alien civilization. If they're capable of traveling from at least the Moon or Mars, let alone across galaxies, that's pretty damn prestigious. More so than Renaissance Italy, and certainly more than the Dark Age Vikings.

    These advanced aliens were also noble, courageous, and honorable, not merely technologically advanced.

    And they looked like us -- even spoke highly similar dialects to our own.

    That's right -- Han Solo, Luke Skywalker, and Princess Leia, from America's national / imperial epic, Star Wars. If they weren't meant to suggest eventually leading to us, they would have been given strange appearances, like the other aliens shown in Star Wars, with strange languages to boot. But those aliens didn't colonize Earth and lead to America, so they don't resemble us or speak like us -- while Han, Luke, and Leia all do.

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  139. As for why Anglo-Saxon names (and Old Germanic or Slavic names) came back in the late 1700s and 1800s, I covered that as well.

    Partly, it's the half-way stage mini-reversal of the Humanist / Enlightenment phase of the 2000-year cycle of nomadic vs. sedentary dominance and all related cultural aspects. In Eurasia, nomadic dominance ended around 1300, and the sedentary-dominant stage will last for about 1000 years.

    Half-way through that is 1800, the Romantic backlash against all that civilized and sedentary stuff of the previous 500 years. They're not actually going back to a nomad-dominant society or its culture -- they're just fed up with so much unalloyed civilization, and are tempering it with some primitive back-to-nomadic-nature material.

    Before 1300 was the Dark Ages in Europe, so the English look back to their Dark Age names (which for most of that period were Anglo-Saxon or Celtic, only Norman Romance toward the very end, and in Southern England only). The German-speakers look back to their Volkerwanderung-era names, the Slavs to their pagan days, and so on.

    At the same time, all Euro empires are reaching the saturation and stagnation stage, about to collapse circa WWI (or earlier, in the early 1800s, for Spain and the Ottomans). So they may be growing tired of the growing burdens of empire, wishing to have never gone off on their imperial expansions in the first place -- which would take them well back into the 1st millennium AD, and the names of that period, when they were modest and multitudinous kingdoms, duchies, and counties, unburdened by empire.

    America has a ways to go before our half-way point in our nomad-dominant culture, which will hit around 2200 (having begun around 1700). But we are currently collapsing as an empire, so the pressure there is to wish for our pre-imperial days and associated names -- perhaps the reason for all the real old-timey Biblical or Puritan names that sound like modest settlers from the 1600s, not imperial subjects from the 1900s.

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  140. To wrap up the correction on the cluelessness, there's no such thing as commoners adopting the culture of the elites. Not in this case, anyway. Since the process is not fads and fashions, there is no analagous process of status-striving imitation or keeping up with the Joneses. It's ethnogenesis, constructing a whole new culture for a whole new people.

    But who are the sponsors of such cultural construction? Why, the elites, they have the money and social connections to make new culture happen. And in most cases, it makes no sense to talk about early vs. late adoption of a purported fashion, nor of different classes adopting it at different times.

    For example, Gothic architecture is the defining style of the French Empire after its integrative civil war has wrapped up (i.e., Philip Augustus' conquest of Western France circa 1200). It remains distinctly French up to the present day.

    Did elites adopt Gothic styles first, and only after some long delay, the commoners adopted it as well? No, because commoners can't build their own churches, patronize their own architects and artisans, etc. Everybody in the class pyramids adopts the style at the same time, because cultural phenomena are a collective or mass-participation affair. They bond the community together, express their collective identity, etc.

    The only differences in adopting over time are regional -- like the Great Vowel Shift taking longer to be adopted the further away from Southeast England you go, in some places never really taking root at all.

    As for names, which are not materially expensive projects like a cathedral, why do those show a delay in which class adopts them first? It's not a fashion, so it's not imitation due to status-striving.

    And in any case, why do these "cultural change is fashion" types think that it takes so long to imitate your social superiors anyway? You can see how they're dressed -- imitate it right away, no point in waiting years or decades, at which point the target you're chasing may have moved on to a new fad or fashion anyway! They probably have! It takes no time delay whatsoever to cut your clothes in a different shape, dye them a different color, etc., if you're trying to imitate your superiors' look of today.

    So instead, it's probably more a matter of an initial cultural innovation at the elite level which spreads person-to-person. Not as a fashion or imitation, but constructing a new piece of collective identity. You have to weigh whether or not it's a valid new construction -- if so, go with it, if not, don't adopt it.

    The social pyramid is always stratefied, so innovations will spread fast within a single tier, and take longer to spread between tiers. That's all there is to it. Commoners don't spend as much time around elites to gauge what innovations are taking place at the elite level, compared to elites spending their time around fellow elites.

    If the question is only, why does this start at the elite level rather than commoner level, before spreading through the whole pyramid, they're the economic and political and military leaders -- and so, have some level of cohesion, drive, and authority and legitimacy, which they employ for cultural leadership as well.

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  141. OK, now back to vtubers for a brief palate-cleansing after that correction (which was needed for long-time readers, since ideas only stick after repetition, and for new readers who didn't read it the first time).

    I'm sure I wasn't the only one who appreciated the touching MoomRys interaction at the end of the EN Reco chapter 1. Highly underrated pairing, but it is an excellent yin-yang friendship like MuBae and TimeRys -- just not one that either has explored much until now. But they should totally explore it!

    And their collabs wouldn't necessarily have to be two-player games. Fauna and Bae had the same level of interaction while Fauna played a game and Bae conversed / commented / reacted, as if Bae were a second player of the game.

    Including a great interaction, too -- when something in the game spooked Bae, she shouted in response, which then spooked Fauna into shouting and recoiling by contagion! That was hilarious, and Bae wasn't even playing the game along with her! Just being an easily spooked friend hanging out with her.

    Moom and Irys could totally chat and go on tangents with each other, react to the game, etc., even when only one of them is playing the game. Lowers the pressure on the non-playing one, and not having to stream their own POV either. Easier to work into the schedule than a two-player collab.

    And since October is coming up, another spooky movie watchalong! Way back in 2021, as fresh debutantes, they held a joint Scary Movie watchalong.

    Worry about which movie to watch later -- just please reserve a spot in your schedules for another one this year. Or like Fauna and Bae, make it a recurring series throughout the month. Like one movie per week? Or one collab of some spooky sort per week, IDK.

    Luv this pairing! ^_^

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  142. Forgot to mention the other, main reason why empires erase the circumstances of their founding -- they don't want to admit that, at one point in time, in fact for a while, they were somebody's bitch, not the noble powerful heroes they are now and always have been.

    You might think they'd like the underdog story, but underdogs do not have to start out as being someone's bitch for 2 or 3 centuries before the tables are turned. You could just pick a fight with some random group that's bigger than you, and win against all odds.

    When that someone bigger has dominated and humiliated and all but enslaved you for centuries -- it's a stain on your reputation for all time. Even if you eventually turn the tables, wipe them out, take their land, etc. That stain is still there, you're just getting revenge for that episode of past weakness.

    Better to just erase that episode from the mytho-historical record, so you were never a dominated, humiliated, and enslaved bitch of someone else.

    Especially in a work that's historical-ish -- think of how many Viking rulers Geoffrey of Monmouth would have to name, dwell on the reigns of, and so on. Hard to fast-forward through -- better to skip it altogether.

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  143. Or for us, how many various Indian chiefs made Euro colonists their bitch since the white man first landed in America. How many Indian raids that carried off how many white men, women, and children, for how long, and seemingly with no relief for decades or centuries.

    Even if the tables finally turned, it's too much of a stain on our record to admit the truth about the Indians making us their bitch for so long in the beginning. Might as well just pretend they never existed, and we simply perservered and prospered by the sweat of our brow, favored by the spirits of our noble ancestors. (Yeah, where were those ancestral spirits helping us when we were getting scalped and enslaved by Indian raiders?)

    These legends don't even survive very well within the bloodlines of those affected by them. In America, every old-ish family has some tale of having an Indian member of the family somewhere. Liz Warren type stuff, pure BS, but benign toward America's image -- making it look like we noble and powerful white colonists adopted the occasional Indian, out of generosity or whatever.

    But it's a lot rarer for family histories to tell about how our ancestors were raided, kidnapped, sold into captivity, raped, murdered, tortured, etc. by the Indians.

    I have such relatives on both sides of my family, but on my dad's side it isn't known at all in an oral history way, and I only know cuz I got curious about our roots and looked into who they were.

    On my mom's side, my aunt is a big family history buff, so she knows about and talks about the ancestors who were raided and kidnapped by Indians -- but mainly focuses on the one badass frontier-woman who managed to break out and find her way back safely to her home base. Not so noble of a story if it's about the ones who were simply scalped then and there, with no revenge or redemption.

    If none of your ancestors were ever targeted by Indian raids, well... you're not really American then, LOL.

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  144. Y'know, maybe there's another big reason why empires erase the meta-ethnic nemesis as the motivating force behind the empire's initial coming-together.

    There's a meta-ethnic frontier with that nemesis, and only some part of Us live along that frontier with Them. It is these frontier people who will eventually drive out the nemesis, expand to unify the rest of the people around them, and go even further afield to annex new lands and peoples.

    But part of that cultural unification / homogenization of formerly diverse cultures within Team Us, is the victors being good winners and putting the past differences behind them. As though everyone on Team Us had always been totally unified, culturally as well as politically, since time immemorial.

    This way, the frontier leaders do not hog the spotlight in the mytho-history of the entire empire. It's not just SE England that shines -- Northern England, Wales, Scotland, Ireland, etc., will all come to be viewed as a single team that fought against the French, that was invaded by the Normans, etc.

    The Southeast English don't rub it in the faces of the losers of the integrative civil war, by saying "Y'know, you guys weren't really the ones who kicked out the Vikings... you're not true Englishmen, so just step aside and let the true ones handle things -- Sincerely, London."

    I'm being a little facetious when I say you're not a real American if your ancestors weren't targeted by our meta-ethnic nemesis, the Indian raiders. It's true on a strictly descriptive level -- your ancestors weren't on the meta-ethnic frontier, perhaps weren't even in this land at that time. And they didn't lead the nation against the Indians, paving the way for the American Empire we all know and love -- or used to up until the 21st century. So, y'know, know your place.

    The most American of Americans can't think or talk or behave like that -- we have to pretend that Southerners were just as targeted by Indian raids and wars as the Northerners, and especially the Midwesterners and Westerners, were. We have to pretend that Ellis Islanders are just as American, too.

    But if the goal is maintaining some cohesion and harmony and spirit of cooperation at a gigantic scale -- we have to erase the truth, and pretend otherwise.

    It's not just about wanting to keep the stain off of our record -- we need to pretend that our countrymen who were not on the frontier against the nemesis are no less Us-like as a result. Everybody's equally Us, let's not rub the losers' faces in it after victory.

    And I don't just mean the integrative civil war losers. I mean anyone who wasn't on the frontier, or descended from frontier people. That would be too destabilizing to the harmony of a gigantic-scale empire, so y'know what? Every member of Us is equally a member of Us, there's no more-American or less-American Americans.

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  145. See? There's a benefit to rehashing things you've already covered -- there's some gap you didn't notice before, then do, and fill it in! Or if you can't fill it in, at least have a little project for the future.

    Erasing the meta-ethnic nemesis from the mytho-history, to smooth over the steep variation in who was targeted by that nemesis, so as to not hog the glory among the frontier leaders, in the interest of maintaining social harmony across at the gigantic scale of empires.

    Glad I hashed this over again!

    Seriously, ask any Southerner or Ellis Islander how they'd react if someone from the Great Lakes said, "Y'know, my ancestors were targeted by Indian raids -- and yours weren't. So while you may be American rather than some other nationality, just remember that I'm more-American and you're less-American."

    The empire would never have held together across all those regions if the frontier leaders had thought, talked, and acted like that!

    Having said that, once the empire reaches stagnation and collapses, the rationale for these mytho-historical fictions evaporates. One region may break away through violent war, a la Ireland during the 1910s collapse of every Euro empire.

    At that point, the non-frontier people may simply withdraw their membership in Team Us, since the empire led by Us is collapsing and provides no benefits, in fact may even be imposing more costs than benefits.

    And the frontier people are no longer holding together the empire, so they may be glad to be rid of those earlier pro-social / pro-imperial fictions, and start telling the peripheral people that they're subhuman scum and always have been -- we were only faking it the whole time we were unified into an empire.

    But they weren't faking it! It's just that circumstances have radically changed. And when they do, it's suddenly time to open old wounds previously thought to have been sewn shut for good, to air grievances, and split apart into sub-imperial regions again. Only this time, with the hangover effects after the imperial high -- lower than where those separate regions began before the empire got started, which was at more of a neutral level, not a hangover / refractory state.

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  146. Last thought for now -- the "founded by prestigious foreigner" myth does not function in the same way as pretending every region is the same.

    If it did, the myth would say the foreigner landed in nowhere-in-particular within the territory, or maybe he made his way all around the territory -- making all regions equally affected or influenced by him. No one region would stand out, be special, or hog the spotlight.

    But in the Aeneid, Aeneas and his direct descendants found a dynasty in Alba Longa, one of the precursor polities to the city and kingdom of Rome. It singles out Rome as the special destination, and domain of rule, of the legendary foreign founder.

    Likewise in History of the Kings of Britain, Brutus and his party land in Devon in SW England, and one of his warriors remains to rule Cornwall (making it somewhat special, compared to the North). But Brutus himself makes his way to the Thames River, where he founds a city called New Troy, which eventually becomes London. SE England and London are singled out as special.

    What's different about the legendary founder vs. the real meta-ethnic nemesis, is that the legendary founder passes on his legitimacy to rule -- so there needs to be a specific dynasty who claim him as the ancient source of their current legitimate rule. And that claim is easier to believe if they are in the same location he was in -- it's more of a stretch if they're far away, and have to spin a further yarn about how they had to flee their ancestral domain of rule, etc.

    Whereas the frontier region vs. peripheral regions, is not about a specific dynasty or individual whose legitimacy is being contested. It's about cultural legitimacy -- and after the leading region leads, and the other regions follow (to varying degrees), that's the end of the story.

    There isn't the same degree of hierarchy and authority among the regions, as there is in the political domain where there is a single ruler, or council, or dynasty, that rules at the expense of their rivals.

    Why is that political capital where it is? Why isn't it somewhere else? Well, that's where the legendary founder ruled from -- so it must ever remain that way, however-many times power changes hands, perhaps between dynasties that are not even descended from each other.

    Internal political control requires a clear core and periphery, authority and subjects, etc.

    But cultural unification / homogenization requires only an implicit leader vs. follower dynamic at the beginning, and eventually the fiction that every cultural region is equally Us. More about harmony than hierarchy.

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  147. I can't let this Harold Godwinson / Norman Conquest BS go. Some more detail about how he was part of the Viking rule over England, not Anglo-Saxon.

    Already mentioned his mother was a literal Viking from Denmark with a Norse name that she never Anglo-Saxonified, and was part of a Viking Danish political dynasty which led an invasion of England under Cnut the Great, who became King of England.

    Cnut didn't Anglo-fy his name either -- why would he? He just made England his bitch, so from his view they ought to assimilate to his superior Norse culture. He never adopted Christianity either, as the English had done centuries earlier, although he was less destructive and parasitic on the English churches compared to earlier Viking invaders who plundered their wealth and brutally massacred the local church officials.

    How did Harold's Anglo-Saxon father, Godwin, become Earl of Wessex? Was he the latest in a long illustrious line of noble English rulers? Quite the contrary -- he was the first of his line to be Earl of Wessex, or anything. He was the founder of the House of Godwin.

    And he only became Earl of Wessex as a political reward from the sitting Viking invader-king Cnut -- for Godwin's traitorous defection away from Edmund Ironside, an actual Anglo-Saxon ruler, and to Cnut's side. Godwin accompanied Cnut on military campaigns in Denmark, and married into Cnut's dynasty (to Gytha Thorkelsdottir).

    He gave his offspring mostly Norse names -- Harold, Sweyn, Tostig, Gytha (renamed Edith upon marriage), and Gyrth -- and only two of them Anglo names (Leofwine and Wulfnoth).

    So Godwin was a Quisling, an Anglo-Saxon collaborator with the invading and occupying Viking nemesis, who was doing his best to assimilate himself and his progeny into the Viking Danish dynasty and culture.

    Therefore, Godwin's political power was not an autonomous Anglo-Saxon rulership, but stemmed from the Viking invaders, who he was willing to serve and be rewarded for.

    And therefore, his son, Harold Godwinson, owed all of his political status as well to the Viking dynasty -- his mother was a direct member of them, and his father owed his Earldom to them.

    Well, you're just blaming the son for the sins of the parents -- nope, Harold was just like his father, casting his lot with the Vikings, not the Anglo-Saxons.

    His common-law wife by which he sired his offspring, Edith the Fair, was probably the daughter of Thorkell the Tall -- the Norse name gives away his foreign Viking origin, and he was again not some random Danish tourist, but a political and military leader, who had brought the future Cnut the Great on raids, including one on Kent.

    At least Edith the Fair's mother was Anglo to some extent, thought to be a daughter of Aethelred the Unready. But still, Edith's father was a politically connected Viking.

    And Harold chose mostly Norse names for his offspring -- Magnus, Gunhild, Gytha, Harold, and Ulf, with only two Anglo-Saxon-named children (Godwin and Edmund).

    So who was assimilating to whom? The Quisling clan of the House of Godwin was assimilating into the Norse Viking side, not the other way around.

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  148. And so, when a Norman untainted by Viking dynastic connections invaded England, the local Anglo-Saxons were happy for Harold Godwinson to be overthrown, and for the Vikings and their Anglo Quisling in-laws to be wiped out of the nation for good.

    Although born Anglo-Saxons, by marriage and by career the Godwins made themselves into de facto, honorary Norse Vikings.

    The Norman Conquest was not the end of Anglo-Saxon rule -- that occurred when the Vikings began invading England. It was the liberation of Anglo-Saxons from those who ended Anglo-Saxon rule, the Vikings. The fact that there was a figurehead of foreign origin did not matter -- as long as they weren't Vikings, and weren't so culturally opposite of the Anglo-Saxons as the Vikings were.

    Why the hell else would all future generations of Englishmen name their children after the founding Normans and Plantagenets, if that represented the end of English home rule?

    Obviously, it must have represented the opposite -- the liberation from their invading nemesis, albeit with the help of a second foreign group who were willing to Anglo-fy themselves rather than maintain their cultural apart-ness as the Vikings had done.

    Naming their children William, Robert, Thomas, and Henry was a grateful tribute, not an imposed burden! The House of Normandy was a non-entity before long anyway -- how would they have imposed this cultural burden throughout the rest of English history? Ridiculous idea.

    I'm sure the parents who lived close to the founding of the Norman dynasty were more overt about their reasons for naming all their kids after William -- "Why, if it weren't for William, the whole bloody lot of you'd be speaking Norse and worshiping Thor!"

    But as the empire expanded, went through the integrative civil war, and needed to erase the circumstances of its founding, in the interest of social harmony across all regions, these reasons were quietly dropped in favor of the generic "It's just tradition, if it was good enough for my great-grandfather, it's good enough for my great-grandchildren!"

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  149. Harold Godwinson was also only king for nine months before being booted out of office by the Normans. So he wasn't really King, just an usurper among many claimants to the throne after Edward the Confessor died in January 1066.

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  150. I'm really not that much of an Anglophile or Britophile. I only went down this rabbit-hole last summer cuz it was an unsolved mystery what the circumstances of English / British ethnogenesis were.

    Who was their meta-ethnic nemesis, where was the frontier, when was the pressure building up, who led the charge against the nemesis, who were the local collaborators with the nemesis, etc.?

    This is a universal pattern, but none of the details were filled in for England, other than the obvious one -- the frontier must have involved SE England, cuz that's where all their cultural homogenization and leadership has come from.

    It wasn't in Peter Turchin's War and Peace and War, like the Viking effect on the birth of the French Empire, the Moors on spawning the Spanish / Castilian Empire, the Turko-Mongols on spawning the Muscovite / Russian Empire, the Gauls / Celts on spawning the Roman Empire, etc.

    And I've never read anyone else talk about it in these terms, certainly it doesn't read that way in Wikipedia.

    I just couldn't stand for such a central empire in world history to be so poorly understood in the universal pattern.

    I thought their nemesis was the French, relating to the Hundred Years War, etc. That would put the frontier correctly in Southern / SE England. But the timing was wrong -- their "founded by prestigious foreigner" myth was written in 1136, two CENTURIES before the Hundred Years War got started. And the French of the 14th C vs. the English of the 14th C wasn't such a great meta-ethnic distance, so it's hard to imagine them exerting such an existential Us vs. Them pressure on the English.

    So who was around England a little before 1136... who would've had a huge meta-ethnic distance from the English... the Vikings! Wow, it just all fell into place after that.

    If you ever doubted my honesty, there's the proof. I could have just lazily went with the French being the meta-ethnic nemesis that spawned the English Empire, and made stuff up and ignored other stuff in order to fit that first guess.

    But I left it open and unsolved, until I ended up solving it for real. There's no satisfaction in Bed of Procrustes "analysis" -- unless you're an academic. But I'm into this for the higher fulfillment, not base careerism, crass click-farming, etc.

    I'll go wherever the truth leads me, and it may take awhile. And that truth is bound to be a more fascinating story than whatever Procrustean first guess I could come up with, and whatever epicycles it would require, and whatever details I'd have to cover up.

    At this point, it's no longer bittersweet to dwell in these remote ruins within the Cliffs of Wisdom rather than collect a steady check and citation circle-jerk points from some academic appointment. I would become irredeemably corrupted, blinded, and germ-spewing if I descended into the wastelands of the universities of the 2020s, and I feel sorry for those who are trapped there.

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  151. On a programming note, future posts on the Indo-European origins of Ashkenazi Jews will take a little longer than planned, due to their cultural nature.

    There's not much to say genetically that I didn't cover already -- Ashkenazi Jews buried in Germany in the 14th C were bi-modal genetically, with a Slavic and an Iranian / Caucasian divide, which over the following centuries was merged into a single-mode population of today, lying in between the earlier segregated sub-populations.

    But "Ashkenazi Jewish" is not a genetic population, it's a cultural in-group with distinctive cultural markers, not genetic markers. Genetic variation is far narrower and finely graded and continuous -- cultural groupings are more dichotomous and widen variation.

    And for their cultural lineage, you have to look across a broad range of cultures to see who they resemble, across a variety of cultural traits (food, marriage, burial, etc.). That takes longer than throwing the whole genome into a computer program.

    So these posts will mostly end up being a survey of Indo-European cultures, hinting at their common original forms from several thousands of years ago -- and the Ashkenazi practice is just one data-point in this broader Indo-Euro super-family.

    Only in a handful of cases do they resemble just one or two Indo-Euro cultures, obviating a discussion of the rest of the Indo-Euros. Like the Haft-Sin ritual and the Passover Seder ritual. When there's only one or two close relatives, it's from the Iranian or Caucasian region.

    But the upcoming post about nuptial veils spans England to India. And it turns out there's a separate but related thing about tying the hands together, but in a more limited geographical range, which the Ashkenazi don't practice anyway, but it's still worth mentioning to study the proto-Indo-European wedding ritual. But the Ashkenazi do have a third, related thing about leaving things untied while passing under the wedding canopy, as a few others do...

    It's just more complicated than a simple genetic test, which isn't very informative anyway, cuz genes don't make us speak certain languages, circumcise or not, use wedding canopies or not, and so on.

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  152. In case the dumb-as-rocks right-wingers thought that a Republican would remove immigrants rather than divert precious public funds toward sustaining their perpetual wage-lowering presence here, Governor DeWine of Ohio, a Republican, has responded to the dumping of 20,000 Haitians into a small Rust Belt town of formerly only 60,000 people (Springfield) by sending $2.5 million to the various libtard agencies that will keep the Haitians there forever, rather than move them out of the town or even the state altogether.

    Ohio taxpayers will be footing the bill for this legion of scab labor's healthcare, English language lessons at the city college, driving lessons, job training (scabbing) and translation, and so on and so forth. In other words, American citizens will be paying for their own replacement by cheap-labor foreign slaves.

    That includes replacing the 17% of Springfield that is African-American -- elite scum don't care which Americans get wiped out, as long as their replacements are cheaper, have lower expectations, and won't challenge the employer class one iota.

    Not a single one of the 60,000 will be removed from the town or the state, and Ohio is deep-red at the state level, both the legislature and the governorship.

    Immigration, including illegal, skyrocketed every year of Trump's term, except for the unusual year of 2020 when Covid hysteria slammed all borders shut, whether Western or non-Western, whether run by libtards or conservatards. That year does not count. Every other year, illegal immigration skyrocketed so badly under Trump that they needed a larger y-axis to fit the line on the chart, compared to Obama!

    Not that Biden's term has flattened or reversed that line, quite the opposite.

    The point is -- nobody will save you from hordes of cheap-labor foreign competitors, whether they arrive domestically or stay put but the jobs are outsourced.

    This was obviously true at the national / imperial level -- we voted in Trump against all odds on such a platform, and the exact opposite took place on his watch.

    But it's also true for state-level actors. Maybe some will engage in a little trolling, like DeSantis sending a tiny handful of illegals to Martha's Vineyard. But that's not a drop in the bucket, and the vast majority are waved right on in by both Democrat and Republican governors, even ones that have deep-red state legislatures, even states that went Trump +10.

    Our traitorous elites at all levels of society, right down to the local church that's taking NGO money allocated to "religious charities" for mass importation of cheap labor, continue to sell us Americans out, as they have been doing since the Reagan Revolution blew up the Great Society (when the foreign-born population % bottomed out, during the good ol' 1970s).

    You can vote Republican if you want to ban tranny surgeries and puberty blockers for children, or as Trump's Supreme Court appointments made happen, the repeal of Roe v. Wade. But enough of this fake propaganda about how Trump or any other Republican is going to reduce the foreign-born % of the population, reduce the trade deficit / on-shore jobs, or shrink NATO or the spending on failed wars.

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    Replies
    1. The Trump IVF proposals are like the "student loan forgiveness" promises of Democrats: a wealth transfer from the poorer to the wealthier. People who had kids during their prime fertile years shouldn't have to subsidize strivers who waited so long that they require medical intervention.
      At least the student loan recipients can point to the powerful and parasitic financial industry for part of their trouble; older, childless women aren't so captured.

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  153. There are negative feedback loops in this dynamic system, but they are not under conscious deliberate control, certainly not via voting.

    The system, like all empires, will continue expanding until it pops, and when the ship begins sinking, most of the foreigners already here will swim back home rather than stay on-board a sinking ship, and no new foreigners will want to take their place on a sinking ship.

    In fact, most of those who were born here, but have recent immigrant ancestors, will choose to repatriate to their ancestral countries rather than go down with the sinking American ship, where they have never felt they belonged anyway.

    Italy reverted to being Italian only after the Roman Empire collapsed during the Crisis of the Third Century. Culturally and genetically -- the multicultural, genetically diverse population of the empire's heyday decided that it wasn't worth sticking around when there were no more benefits, and if anything, tons of costs.

    But Italians had nowhere else to go, and they were deeply rooted where they lived, so they stuck through the collapse, and emerged on the other side as a de-scaled patchwork of rump states, but all of them being some flavor of Italian rather than Gallic, Iberian, Greek, Germanic, etc.

    Some had new overlords who were Germanic or Byzantine, or later Castilian, Arabian, Viking, Norman, etc. But none of those overlords sent hordes of colonists, so the local Italians were not replaced genetically or culturally.

    At no point did the successor states to the Roman Empire in Italy speak a non-Italic language, for instance. The only close case is Malta, which now speaks a Semitic language, but they're pretty far from the Italian peninsula and even from Sicily.

    Italians grew taller once the Empire was over and they returned to smaller-scale polities. Mainly cuz pastoralism returned, so they got more animal food, instead of the heavily agrarian diet which was optimal for the purpose of maintaining a sprawling empire, but not for individual health.

    Their culture became more regionalized, slow-paced, and less exciting, a shift we Americans can already feel as the nationwide excitement surrounding the Super Bowl has absolutely evaporated during the 21st century, and nothing new and equally exciting has taken its place. Nothing ever will -- it is truly over for our imperial-level culture.

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  154. None of us will see those back-to-normal days, though, which will only happen after the current hangover ends, and the system is restored to a baseline level instead of negative / refractory state level. Our freefall collapse has only just begun, so it'll be like this for many decades, and will not be palpably back-to-baseline for 100 years.

    Again, baseline for a typical country in the world at any time -- not back to the normal state of an empire.

    None of us will weather the storm personally and enjoy the breath of fresh air on the other side of imperial collapse. So the best we can do is prepare and shepherd the system as best we can for the benefit of our descendants 100 years from now.

    And because we are no longer capable of constructing great things at scale, our job is mostly a matter of thwarting the destructive forces that are iconoclastically laying waste to a culture and society they bitterly seethingly hate.

    As with all empires, we will lose an incredible amount of our culture's great creations, like the delapidated state that the Library of Alexandria fell into after the Roman Empire collapsed. But we can do whatever we can to minimize these losses, herding as many members of our flock across that rickety bridge of imperial collapse, while knowing that most of the herd will be picked off by the growing hordes of predators before the bridge, and many still will plummet through the planks on the way across.

    What else can we do? Our descendants (and ancestors) are counting on us to do our best.

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  155. It's worse for the regions at the periphery of the empire. Roman Britain got swamped by Germanic tribes and their descendants identify themselves as Anglo-Saxon instead of some Roman derived identity. The Balkans got swamped by Slavs and their descendants identify themselves as Serbian or Bulgarian or whatever, instead of some Roman derived identity. The Levant and Egypt got swamped by Arabs and their descendants identify as some kind of Arab, instead of some Roman derived identity.

    I wouldn't be surprised if Europe (on the periphery of the American empire) got swamped with African or Middle Eastern nomads in a few centuries as the American empire collapses, completely erasing the European identity and replacing it with an African or Middle Eastern one, just as the Germanic and Slavic and Arabic nomads took over the periphery of the Roman empire as it collapsed. Especially as the Eurasian dark ages kicks off in 2300.

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  156. Also if America is going to follow Rome's decline, I'd expect the existing WASP/Jew/East Asian elite to get overthrown and replaced with AOC type Latinos from the periphery of America (Puerto Rico), just like the Arab Severan dynasty overthrew the native Roman elite as the 3rd century began.

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  157. "Some had new overlords who were Germanic or Byzantine, or later Castilian, Arabian, Viking, Norman, etc. But none of those overlords sent hordes of colonists, so the local Italians were not replaced genetically or culturally."

    Probably what's going to happen to America. We'll be ruled by Mexican cartels but we won't have a massive wave of Mexicans coming to replace us.

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  158. The dumbing-down of gatekeeping. Just saw a post on the Red Scare reddit, one of many of its kind, titled something like "They don't make them like him anymore" with a slideshow of images of someone. Who is this nameless obscure figure that cannot be named, only referred to by the pronoun "him"? David fucking Bowie!

    I know this is not a new trend, probably dating back to 2010s tumblr, which after the collapse of that site has migrated to Twitter and Reddit.

    "Still thinking about them..." -- and it's a screenshot of Edward and Bella from the first Twilight movie.

    "One of the greatest popstars of our lifetime..." -- and it's a slideshow of Marina, from Electra Heart-era Marina & the Diamonds.

    They won't even refer to them by a distinctive epithet, like "They don't call her The Queen of Pop for no reason" and it's an image or sound clip of Madonna.

    It has to be vague and allusive (like a pronoun), suggesting that the poster and the audience have been initiated into a mystery cult devoted to this obscure cultural figure -- who is, in fact, one of the most popular figures in contempo history.

    "Oh, you don't know who the pronoun refers to? You expect us to name them explicitly? You expect us to spoonfeed you, newfag? Lurk more, do your reps, and only join the convo when you're no longer a wiw' bahby."

    No, dipshit -- everyone knows who David Bowie is, or Twilight, or the other pop culture sensations of our own lifetimes. And those who are icons from before we were born as well -- you're not part of a tightly knit cult just cuz you refer to Audrey Hepburn only as "her" when you post images of her. Everyone knows, you're not gatekeeping anything, you deluded ego-tripping wannabe.

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  159. It's not just an innocent but equally deluded attempt to create a false sense of intimacy with the unnamed figure. As though the poster and audience are so close to the figure, explicit names or epithets are not required, the identity can be assumed, so pronouns and allusions are all that's needed.

    First of all, even if that's what they're going for, it's just as sad and deluded and poser-like. You are not connected to them at all, neither is the rest of the audience.

    It's trying to force that intimacy through verbalistic contrivance -- if I refer to Audrey Hepburn only as "she" and "her", then that automatically makes me close to her socially! Other way around, numbnuts -- if you're socially close, then you can refer to her that way. But referring to her by pronouns doesn't make you close to her -- it's a very easily fake-able signal, and marks you as a deluded ego-tripping wannabe instead of a gatekeeping cult leader who's close to the figure of devotion.

    And second of all, socially close people don't refer to each other exclusively through pronouns or other allusions. They use their given names, but not necessarily full names. Or a nickname, pet name, epithet, etc.

    So, if false intimacy were the goal, these wannabes would phrase it as, "They sure don't make them like David anymore" for David Bowie. Or "David's bandana will never go out of style" for David Foster Wallace's distinctive fashion piece.

    Or "Audrey really stole the show in Breakfast at Tiffany's" -- in fact, they would probably not name the specific movie either, as part of their lame attempt at gatekeeping. "Audrey really stole the show here", or as they actually say, "She really stole the show here". Wow, TWO unnamed things whose explicit names you are withholding, and lording it over the newfags!

    In reality, everyone knows her full name and the movie's name, you absolute noob (who's desperate to conceal their noob-ness with these easily fake-able signals of being a long-term, high-ranking priest of an obscure mystery cult).

    So while false intimacy is in the background as a motivation, the core of what they're attempting to do is gatekeeping.

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  160. Well, if they really are such well-known pop culture sensations, maybe it isn't necessary to explicitly name them after all?

    No, you need to name them exlicitly anyway -- as a sign of respect, memorializing them, and canonizing them / their work.

    Their tombstones do not read, "Here she rests in peace" or "Here lies the greatest popstar of our lifetimes", with no explicit names, either given name or family name. It reads their full name.

    Their entry in an encyclopedia is not just a nameless image, and you do not navigate the entries by scanning the images as though they were the headline identifiers. Their NAME is what identifies them.

    And when you're throwing together your little slideshow, or expressing fondness with URL links or whatever, you must name them too.

    "David Bowie, for Yves Saint-Laurent, 1983" (maybe crediting the photographer too, if they're equally important in their own right -- "shot by Helmut Newton"). I'm making up this example, BTW.

    "Still thinking about Edward and Bella", and if it's just their performance in the first movie, add in "from the original Twilight".

    None of this wannabe, self-appointed, pathetically deluded, high-ranking initiate into a mystery cult BS.

    And besides, at some point there will be audience members who don't know David Bowie's name, or his role in music and movie history. If he's unnamed, you can't easily take the nameless image, reverse image search it, and then find out his name, look up his Wikipedia entry, etc., to figure out why he's important enough to receive this online tribute with all these likes and upvotes.

    That is not about you being a high priest, it's just about you being old and having grown up in a time when the old-heads would explicitly name all these things, to ease their transmission to the next generation.

    You withholding these names is the most desperate and pathetic grasp at Boomer-tier "pulling up the ladder behind you" attack on the future generations.

    And it robs the figure of their iconic status -- which implies a widespread recognition. The fewer and fewer their recognizers are, the more they are debased into some weird obscure niche object, rather than the living god they were treated as by actual appreciative fans, who were part of the actual scene that feed back their energy into the creator, when the creator was still alive and thriving.

    Show some fucking respect to the figures themselves, and perform your fucking duties to the future generations, after the earlier generations benefited you in this way when you were growing up.

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  161. These attempts at gatekeeping don't even show any awareness or appreciation of what they're supposedly honoring. They don't show a painting by Caravaggio, titled only "The master of chiaroscuro" -- well, that at least shows that you understand, and enjoy, what his big claim to fame was, even if you're gatekeeping his name and the name of the specific painting.

    I was going to give a song example, like "They don't make vocal harmonies like this anymore" referring to the Beach Boys, or the Mamas & and Papas, etc. -- but now that I think about it, these wannabes don't really try to gatekeep the songs themselves. Cuz any audio file that they embedded or linked to, would include the full name of the artist and work, e.g. a YouTube video.

    Damn YouTube, ruining my attempt at gatekeeping the names of the artist and the song!

    That's right... these gay retarded faggots only post images of a music artist, not audio clips, cuz the image file is more allusive and hard to reverse-search, compared to the open-as-a-book audio file.

    So pathetic, and like I said debasing and robbing the artist -- these posers will never spread awareness of a single song by David Bowie, only nameless images of him, when he was primarily a music artist, not a model.

    Returning to the point at the start of this comment, these wannabes don't demonstrate their cred as a gatekeeper -- do they have expansive knowledge, do they have special insight, do they have le mot juste for expressing their joy, do they analyze it in an easily understandable way, and so on.

    No, their entire claim to gatekeeping status is "I can match the image and the name of this person" -- wow, so erudite, so cultured, so insightful, so devoted! GTFOH.

    If you want to gatekeep, you must demonstrate your elite status at the outset, otherwise you're just a wannabe, which all of them are by now. It's so dumbed down.

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  162. The only permissible use of allusion instead of explicit names, is parody or satire, which presumes the audience is already familiar with the artist or work being parodied. Parody is necessarily an in-joke among an existing cultural community.

    And very often, the parodied artist or work is highly famous, as in David Bowie or Edward & Bella.

    So why do they not explicitly name the target of parody? Cuz that spoils the joke -- it's explaining it in too much detail, and humor has to be somewhat opaque (also the source of innuendo and double-entendres as humor -- leaving their referent open to some interpretation, not specifying which definition you mean).

    Parody requires some skill, and a deeper familiarity with the artist / work to get the style properly matched to the original. So this establishes the gatekeeper's (relatively) elite status at the outset.

    Just throwing up an image, and saying "I can name the person shown in this image," is not elite or clever or skilled or anything. No gatekeeping status for you! (That last sentence is an allusion that I won't explicitly identify, or else it would ruin the admittedly run-of-the-mill joke by making it obvious.)

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  163. In case anyone was confused about us plunging into a new age of ignorance, here's yet another sign. It's not due to online tech -- we had online tech back in the '90s and 2000s, and people used it to facilitate awareness and appreciation and transmission of culture. Those oldheads, like me, continue that practice to this day.

    During the 2010s, people -- Millennials -- decided to use online tech to hinder awareness and appreciation and transmission of culture, fencing off as much of the cultural commons as possible -- which THEY DID NOT CREATE THEMSELVES, but inherited as supposed stewards -- into their fake & gay gatekept fandoms.

    Gen X is the last generation to be missionaries and proselytizers for our culture, and in fairness this is one domain where Boomers performed their duties instead of pulling up the ladder behind them (that was more in the material economy domain).

    Millenials are the first to abdicate their duties and vaingloriously appoint themselves the tightly knit initiates of an obscure cult, much like the Essenes at the end of the Second Temple Judaism period, whose cult was a total dead-end, and who we lost almost all awareness of until the discovery of the Dead Sea Scrolls nearly 2000 years after their willful and cowardly flight into the desert, intellectually as well as materially.

    Zoomers are at least hungry and inquisitive about culture, contempo as well as classic, due to being starved and deprived by the Millennial wannabes just above them in the age groups.

    For the love of God, Zoomers -- please find the nearest Gen X-er or literal Boomer, and we will gladly open the floodgates of culture! You're enjoy more culture than you know what to do with! No sad pathetic attempts at gatekeeping by actual noobs!

    And for the love of God, take up this duty when it's your turn as well! Don't follow the poor unfortunate Millennial souls right over the cliff into oblivion! Someone is trying to pass these things onto you, so you must try to pass them onto the future generations under you!

    God help us, you're our only hope! (inb4 "it's so over...")

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  164. Final caveat that this does not apply to Glorious Nippon, naturally. They are not a collapsing shithole empire like we currently are, they are not suffering from an auto-immune disease that destroys their own culture and heritage from within. They are not plunging into a refractory state or hangover, after a soaring high.

    And so, "Millenials" in Japan -- IDK if they're even a distinctive generation like in America or the West, if they're born between 1982 and 1996. They may have different generational boundaries.

    But even if the 1982-1996 cohort is distinct, they do not gatekeep their culture, debase and rob the creators, or shrink the community into a tiny inbred niche cult.

    And like Americans of the 1990s and 2000s, they have online tech! But they use it to FACILITATE cultural transmission and appreciation. Like the vtubers -- they spread awareness of the vtuber medium itself (their brands are as widespread and recognizable in Japan as Simpsons merch was in their '90s heyday), instead of gatekeeping it like the niche medium it is outside of Japan. They spread awareness of anime series through watchalongs, or even Western movies that they do watchalongs for. And music, both Jpop and specifically anime songs. And of course, classic and important video games!

    Not to mention older, traditional elements of Japanese culture, like the "Holomem Ondo" song and video they made, for the traditional Obon festival. Or the red-and-white color scheme of the Japanese flag. Or many of their background environments being traditional Japanese-style rooms, alternate outfits for their models that are traditional Japanese yukatas etc.

    It's not just one of them, as though it were a high-priestess role. They all do their part to transmit culture to a broader audience right now, and to pass it down to the younger generations, so it doesn't die.

    Japanese people are proud of their culture, and because they are not compromised by a cultural auto-immune disease like America is right now, they not only keep their culture living and alive -- they ENJOY doing so! It's not a dreaded chore!

    Glorious Nippon. ^_^

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  165. This is related to the whole "curated content" role that the wannabes have appointed themselves into, always online, not an actual gallery or magazine or whatever.

    A gallery owner does not create the "content" that is displayed, but he DOES tell you who made it, and what it's titled. That way, you can look for more by the artist.

    There's no gallery or museum or retail store where the names of the creators and titles of the works have been "gatekept" -- hidden, erased -- by the middleman, in a vainglorious attempt to make his middleman role supreme over that of the creators.

    Like, "Oh, so you like these kinds of images? Well, keep coming back -- I'll track down lots more like them... but I'm not gonna rEvEaL mY sOUrCeS, or else you could go directly to them, and cut out me, the all-important middleman!"

    It's so pathetic, and content-thieving. Don't ever patronize these wannabes' fake & gay curated content galleries. Find someone who will tell you the names and titles, so you can find more on your own, learn about related artists, and branch out in all sorts of unexpected ways -- not be held hostage by the middleman who won't give you a way to explore more.

    Again, this debasement of the creator only came about during the 2010s with Millennial online curators. We're so far away from online galleries of the pre-social media internet, during the good ol' 1990s, or Microsoft Encarta. And don't say "Wikipedia" -- that's a black hole for images, especially for articles on visual art and design. No images at all.

    Tumblr again seems to be the source of this debasement. At first, Tumblr began as a themed collection of images, often prefaced by "fuckyeah" in the blog title, e.g. "www.fuckyeahscifi.tumblr.com" -- and it's a bunch of screenshots of sci-fi movies (making up this example). In the early days, these images came with captions with identifying info, or maybe the artist or title was part of the image file name, if you hovered or clicked on it.

    Gradually these devolved into unidentified images in a long scrolling slideshow / coffee table book / gallery. Because there was no identification, you could never break out of the initial training set you were exposed to, like you were some dumb AI program. And you had to keep coming back to that Tumblr account, since you had no idea where these images were being sourced from. It glorified the curator, and erased the creators.

    When Tumblr collapsed, this practice migrated to Reddit and Twitter, and even YouTube, where music clips are often accompanied by thumbnail images, or a slideshow of them. The uploader of these videos will never identify a single image, and you're lucky if someone else does so in the comments, thankfully cutting the wannabe gatekeeper down to size.

    These images are not meaningless placeholders for what is supposed to be a music-only video. The curator goes out of their way to find le pic juste for the thumbnail -- before you actually click on the video to start it playing, this thumbnail is all you see, plus the allusive and non-identifying title of the video.

    E.g. "Vaporwave 1990s empty mall megamix, vol. 37", with a striking thumbnail of an empty mall. But there's no info on the pic of the empty mall featured in the thumbnail, which is meant to echo or reinforce or synergize with the music, to create a vibe, a mood, or an immersive world.

    If it's that important -- tell everyone what the hell it is.

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  166. This plunges the culture into a new age of ignorance, from the gatekeeper's side. But I wonder if some of it is audience-driven as well? Like, do audiences not even care about the identifying info, they don't want to explore, they just want to be lulled into hypnosis by a scrolling stream of images from a reliable drug dealer, and not care about passing them on to others in the present or those in the future.

    With names and titles, it's easy to pass awareness along -- you can tell someone else about such-and-such artist, and such-and-such work, whether you have an image to pass along or not. You can tell them to go look for an image using that artist and title.

    You can't just tell them to visit the same curated gallery that you were exposed to -- no gallery exists forever, and it could be gone by now. Plus with no identifying info, even if it's still open, how do you specify which image you want the person to view?

    And you did not screenshot or make a copy of every image you saw, so you can't pass them along that way either.

    You need identifying info, apart from the content itself.

    I think audiences are hungry, not begging for opaque allusions that blue-ball the desire to explore.

    If the purveyor of images does include captions and other identifying info, the audience doesn't snarkily complain in the comments, "Wow, way to be so obvious about it and ruin the close-knit in-joke inbred incestuous experience for us wannabe cult members..." or "Remove the names and titles, or else you're just inviting noobs and tourists".

    So this is primarily driven by the purveyors, in a sad attempt at status-striving and delusions of grandeur, as The Un-go-around-able Middleman.

    Millennial posers deserve only mockery and boycotting. There are tons of Boomers or Gen X-ers who will open the gates, not try to fence in the commons. If you can't find them online, go with physical media -- no gatekeeping of identifying info there!

    Imagine opening up Gardner's, and it's just the images with no names and titles! And each new edition isn't about a new approach, it's just "even more nameless curated content from the team that brought you the previous editions" and there's no overlap, to keep you coming back for more. Pathetic -- and not how it actually works, thankfully.

    And as I mentioned before, the wannabe gatekeepers never have any claim to elite status that makes them, not someone else, the deserved gatekeepers. They're just some random noobs and posers and wannabes.

    The curators of a physical gallery, a physical book or magazine, or even an online content feed with identifying info, always have better taste, deeper insight, and a more pleasant manner of interacting with the audience -- not the lame attempt at middle-school peer pressure, like "You *do* know who and what we're referring to, without explicitly naming anything, RIGHT?! You're a clique / cult member in good standing, RIGHT?!"

    GTFOH with that wannabe Mean Girls faggot crap. It's not the 2010s anymore, and the next generations are curious, inquisitive, and hungry for content -- not the rarely doled-out breadcrumbs from a wannabe power-tripping middleman purveyor.

    Zoomers, for the love of God, just ignore the sad desperate Millennials, and go ask a Gen X-er or literal Boomer.

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  167. The most bizarre paradox about this all, is that these wannabe gatekeepers are trying to gatekeep the most popular mass-market sensations in cultural history. David Bowie, Amy Winehouse, Fiona Apple, Twilight? -- every normie across America was exposed to them by heavy-rotation MTV videos, radio airplay, word-of-mouth, and so on and so forth. And they still remember them all these decades later, even if they weren't a superfan -- they were simply impossible to avoid awareness of.

    So that content really is like the commons -- a great big open fertile resource to bind community members together, which the gatekeepers did not create or sustain, and are just greedily trying to fence it in for themselves, whose numbers they want to keep as small as possible, so that each member enjoys a large share rather than a tiny slice if it had to be divvied up among a huge community.

    It's not, as they seem to initially imply, an obscure niche object of devotion -- that's the joke, it's not "keeping Austin weird". It's trying to transplant yourself to Greenwich Village -- which has been mainstream, normie, and highly sought-after forever -- and declare it only yours, so you have no competition in passively soaking up the coolness points that you imagine you get simply by transplanting yourself there.

    Actually niche, obscure, or avant-garde culture -- their fans are in fact more willing to evangelize about it, eager to share it, and spread awareness of it.

    One of the first fan-sites I became a regular reader of, back in the ancient times of the mid-1990s internet, was the RzWeb -- for the Residents, who didn't have their own official website at the time -- made by tzoq, some random guy at the University of Western Ontario. I'd originally heard of them through word-of-mouth from a friend, and his friends / friends' older brothers, that kind of thing.

    The site's name was pretty overt about who the focus was -- Rz / Rez, for the Residents. Not an opaque allusion.

    One of the few "cons" that I attended back in the olden days, was the -- hold on, lemme check the exact title -- the Mystery Science Theater 3000 ConventioCon ExpoFest-A-Rama 2: Electric Boogaloo, held in 1996.

    At the main panel discussion, there was a guy sitting a few seats over from me, wearing a Residents eyeball t-shirt -- it didn't have their name on it, but their costume is highly distinctive, so it might as well have said their name. And he was wearing it out in the open, like "Please, ask me about my shirt, I love this group!"

    So I said something brief and ice-breaking like "cool shirt," and we started chit-chatting about different groups, and since I was just a high schooler, I wanted some tips about who else to listen to. I remember him mentioning the Blasters, who I never did get a chance to look into, but maybe I should take up his advice now that I have YouTube.

    Guys like that are always eager to talk, share, and explicitly name things you can follow up on and explore. I turned into one of those guys myself! That's why you're here, right? No annoying vainglorious Millennial blue-balling bullshit, where you feel intimidated to ask me "what is that? where did you find it? etc." I'll tell you before you even have to ask, that's my job as a pro-social steward and curator and purveyor.

    How many times are you going to hear me say the full name of the building complex, The Mary Singleton Senior Center -- in Jacksonville, Florida? As many times as I refer to it!

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  168. Anyway, in case you doubt the higher taste level and insight and ability to explain / interact with the audience, here's a somewhat recent post I wrote about Snakefinger, who I immediately resonated with far more than the Residents, who he was associated with.

    https://akinokure.blogspot.com/2019/12/snakefinger-disco-blues-rock.html

    Re-listening to his songs for that post, that still remains true. I wasn't even a big dancer in high school, but I have always liked more corporeal music, and his is decidedly more danceable and disco-friendly than the other avant-garde stuff, including his close associates the Residents, who I gradually lost interest in over the years (not lost it altogether, but I don't think they hold up as well as Snakefinger).

    In that post I also referred (explicitly) to the Neo-Expressionist painting movement of the same time as Snakefinger and the Residents' music, with many links to earlier posts on the topic.

    Wannabes who try to gatekeep some mass-textbook-famous painter like, IDK, Cezanne or Van Gogh, are probably not even aware of Neo-Expressionism, other than the mediocre Basquiat, but they're not aware that he was part of a broader movement (and that it was mainly in Italy and Germany, not America). And as always with lamewads, they're cerebral instead of corporeal, and can't even tell you what you're looking at, on a sensory level.

    Or the recent post on Venetian ethnogenesis, and its role as the creative powerhouse in Italy since the collapse of the Roman Empire, with extensive examples that are explicitly named:

    https://akinokure.blogspot.com/2023/12/venetian-ethnogenesis-and-its-role-as.html

    Actual art appreciators know about Florentine disegno vs. Venetian colorito, during their rival Renaissances. And the real ones appreciate Venetian over Florentine Renaissance art and architecture -- sorry, but it's not even close!

    And such people with taste, insight, and ability to relate to an audience, ENJOY preaching the gospel about these works, whether they're world-famous or relatively niche. Totally opposite of the self-styled art-fags, art-hoes, etc.

    For the love of God, Zoomers, stay away from the sad grasping Tumblr refugees who are infesting the aesthetic sub-groups within social media. Ask a Gen X-er or literal Boomer instead!

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  169. NYT says Dems are gonna steal the election again, with the same wording as in 2020 -- there will not be a clear winner on election night, the early returns will make it appear Trump won, but then in the days, weeks, and months after the election is already over, phony mail-in ballots will pile up across multiple battleground states (but only those states) by the 100s of thousands or millions and 99% of them for the soon-to-be usurper Harris.

    Get ready for the Second Great Ballot Count Stoppage.

    Legitimate elections have their results in on election night. Reminder that the results were in for the 2000 election on election night, and the protracted fight afterward was disputing these results-which-were-already-in-on-election-night.

    The only time they have not been, and have followed in the days, weeks, and months after the election is already over, was 2020. Not normal or usual or historical, at all. Crucially, the most recently Democrat before 2020, Obama, did not stuff the ballot box for days, weeks, and months after the election was already over -- he won it legitimately, and the results were clear on election night.

    This is an entirely new practice as of the 2020 start of outright imperial collapse.

    I knew they were going to use the mail cartel to fuck with the election again when recently it took 8 days to receive a simple Priority Mail envelope, which normally takes a few days. Looked up the tracking history -- it sat for days in one place, took a few more days to travel across a state, etc.

    So the USPS workers are only using 1/2 of their man-hours to actually delivering the mail -- the other 1/2 of their man-hours are being rerouted, as it were, to the mail-in ballot theft.

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  170. Funny how the Biden admin didn't fire Trump's GOP Postmaster General, DeJoy, who presided over the mail-in ballot theft of 2020 (he was appointed in the spring of 2020).

    They purged all the other Republican appointees, and it doesn't matter that the Postmaster General is not a cabinet position. The orange bad man appointed him, so he must go -- right?

    Well, not if he bowed to the Democrat election-stealing operation that relied on the USPS apparatus.

    He's presiding over the exact same thing in 2024, which is why he still hasn't been fired and replaced with a Democrat, or an anti-Trump Republican.

    Imagine Biden leaving Brett Kavanaugh on the Supreme Court, if he could fire and replace him. It'd tell you that was, for some reason, not tainted by the general Trump contamination that Democrats believe everyone close to Trump has.

    Also it's not like a military appointment, where the Dems don't really control that sector of society. We're talking about the Post Office -- a 100% Democrat institution. Their Board can fire DeJoy and replace him with a Dem or anti-Trump Republican any time they want.

    But as long as he lets the Democrats steal the election through phony mail-in ballots, he is functionally an anti-Trump Republican, whether he overtly declares so or not, and therefore the Democrats and the Biden admin are A-OK with him continuing his appointment, despite Trump putting him there.

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  171. Reminder that Harris has even less support and legitimacy than Biden, including among Democrat citizens themselves.

    Dem voters were given a chance to pick their nominee in 2020, and they thoroughly rejected both Biden and Harris -- they wanted Bernie, followed by Buttgag and other nobodies. Iowa, New Hampshire, and Nevada, the bellwether early states all agreed -- anybody but Biden, and DEFINITELY NOT Harris. Specifically, they wanted El Bernarino.

    Then when the party elites saw this rejection of their favored one, they shut down the primary by clearing the candidate slate of everyone except for Biden, in the week leading up to Super Tuesday, where Biden's rejection would have really become set in stone. And Harris' even more so -- she dropped out BEFORE the actually-popular ones were purged from the choices by the party.

    Harris got 0 (zero) delegates at the 2020 convention.

    Nobody forgot about that, even if they didn't want to keep harping on it. So in 2024, when Democrat citizens were happy to dump Biden -- they already rejected him in 2020 -- they wanted someone other than Harris as the replacement.

    But an election was not held, Harris was simply promoted by the party elites into the nomination.

    Those people who rejected her as a non-entity back in 2020, preferring mostly Bernie but other nobodies as well, have not changed their minds, just cuz she's been a lackluster VP for the 4 years since. But they were not given any alternatives to Harris, and they were not consulted via an election.

    So, as flimsy as Biden's legitimacy and authority have been, when she usurps the White House in her turn, Harris' will be even flimsier.

    If the blob is just going to do what it wants, the easy thing for them to do is just nominate Bernie, steal the election for Bernie, inaugurate Bernie, and let him preside over the same neoliberal imperial collapse that Biden has.

    But no, they hate their own voters too much to throw them a bone. So, Harris it is, the person that Democrats didn't vote for on two separate presidential electoral occasions.

    If you thought non-compliance was bad under Biden, wait until an even weaker figure takes his place...

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  172. That's the upshot: retarded Democrats think that stealing an election is like entering a cheat code in a video game. Except in the real world, legitimacy and authority are socially constructed -- the population doesn't just slavishly go "oh yeah, Biden totally won that election for real, there were no pallets of ballots arriving for days, weeks, and months after the election was already over..." just cuz some journo cartel declares Biden legitimate.

    Seeing the process of an election get totally shredded before the entire nation's eyes, and the world's eyes, for an endless death-march of months, rather than a quick slight-of-hand maneuver, makes the population (here and abroad) reject the White House occupant's legitimacy. There's no getting it back either.

    And once you shred your legitimacy, you have to rely on force -- but in the same world where they shred their own credibility, they have no control over legions of enforcers. Everything's collapsing, from the political parties to the police to the army to whoever else they think will chaperone all 300-and-some million Americans to make sure they comply with the usurper's directives. Uh-huh, sure thing.

    This is most clear abroad -- Russia, Hezbollah, Yemen, Afghanistan, China, Iran, Venezuela, North Korea, etc. don't give a shit if the libtard media says the US election was totally legitimate, so you have to obey the ruler. They correctly see a stolen election as a sign of internal weakness and collapse -- so, they might as well strike while we have our pants down.

    And indeed, before Democrats began stealing the election, Russia was not annexing Ukraine, Yemen was not controlling the Red Sea, Hezbollah was not annexing northern Israel, and the Taliban had not kicked America out of Afghanistan. The only domino left to fall is China taking back Taiwan -- maybe that's what the writers have in store for season 2 of election theft. Who else is left to call our bluff?

    De-dollarization, spiraling inflation, etc. do not care what the media says either. If America is so weak that its leaders only come to power through stolen elections, their currency is already a joke, and will only get to be more of a joke -- so don't accept their funny money, and charge them more dollars in terms of gold.

    Not that our culture industry operates anymore, but what little it does churn out goes nowhere, including abroad -- why import the product of a joke country where the elections are stolen, and everyone fights over who can sink the ship the fastest?

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  173. Disregarding the phony declarations of the media holds internally, too -- as libtards found out from the mass non-compliance regarding masks, vaccines, boosters, etc. during the height of Covid hysteria.

    Quite simply, nobody is going to follow their orders or suggestions or nudges anymore. They have snuffed out their soft power, and there is no more hard power in America, not since the national Army desegregated schools back in the 1950s and '60s. It ain't the New Deal anymore.

    Bush Sr. barely managed to send in some National Guardsmen to put down the L.A. Riots of 1991. And Trump sat on his worthless ass all during the summer of BLM / Antifa riots in 2020, as well as during the theft of the election that year.

    Reminder that the GOP controls the military and the police -- if they did not put down those riots, that's because Trump, his admin, and the GOP as a whole told them not to bother. Cowardly, and worthless. It fell to random powerless citizens to defend themselves, with predictable consequences -- it's supposed to be a Republican president who puts down a nationwide scourge of riots.

    Since Dems don't control the military or the cops, they have even less hard power than the already proven impotent Republican presidency.

    Dems are simply the party of anarchy and devolution away from the central state, into autonomous states and regional confederations. And unlike during the integrative civil war, when both sides had plenty of hard power, during a disintegrative civil war, the national tier has none, while the sub-national tiers have plenty.

    After all, sub-national armies aren't designed to fight Russia in Ukraine, patrol the Red Sea, etc. -- they're just meant to keep the impotent and pesky national army away from their territory, so the region can run its own affairs, while ignoring the illegitimate usurpers at the national level.

    Just as foreign militaries correctly diagnosed the weakness of America's national military, from the signal of a stolen election, sub-national armies will begin to do the same, and call the national army's bluff, winning against it just as easily as the Taliban kicked us out of Afghanistan, just as easily as the Houthis took over the Red Sea from our navy, and just as easily as Russia has begun annexing Ukraine.

    As always, it is not about technology, numbers, etc. -- we have nukes, so how can the Houthis just hijack the entire Red Sea shipping lanes? Cuz tech means nothing when your military is collapsing. A military is primarily a team, not a device. If the team is falling apart, it doesn't matter what they have in their locker room, how much funding they're siphoning from the local taxpayers, etc. They'll get creamed in a match against a team that is not falling apart.

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  174. The sub-national is the only relevant level to focus on and fight for, going forward into imperial collapse. Who cares about the presidential election that's about to be stolen, and the fake usurper about to be inaugurated? They can't make their national policies happen anymore.

    The path forward is not trying to take over the national government, legitimately or illegitimately -- there's no power there to make things happen, but really no power if you steal your way in.

    What each sub-national entity needs to start shifting toward, is an independent set of institutions for those that are currently national-level only. They need a new currency, a new trade / tarriff policy, they already have an army of their own, and enforcement of movement into and out of their territory.

    Won't happen overnight, but that's where imperial collapse always leads. We probably won't even bother with elections either -- the practice has become too discredited and tainted by Democrat election-thieves since 2020, and a fair amount of disaffection and cynicism even before then. We're going into the warlord stage of the imperial lifespan.

    If local rulers can give us what we need by employing hard power, then so be it -- we aren't going to tolerate immiseration into lower and lower depths forever.

    Someone joked in the comments earlier about Americans being governed by Mexican drug cartels -- not out of the question, if they can police immigration into their America-side domain, use a currency that doesn't involve double-digit inflation, and keep good jobs located within their domain (to tax them) since they cannot operate a global-scale supply chain that the off-shoring manufacturers do.

    If you think the Sinoloa Cartel, after taking over Ohio, is going to just shrug their shoulders at 20,000 Haitian dependents getting dumped into one of its small towns, think again. Hispanic gangs have already ethnically cleansed most of the American West (including California) of African-Americans, let alone recent African-descended immigrants.

    The 20,000 legion of cheap labor Haitians who were dumped into Springfield are only propped up by endless money-printing that funds the NGO network. But once the national institutions are caput, which is already under way, there will be no such funding chain from the East Coast into Ohio, to facilitate and perpetuate mass immigration.

    And Lord knows the Sinaloa Cartel isn't going to pony up all the dough it takes to host 20,000 Haitians per town within their domain! They'll be driven out so fast, it'll make ya head spin.

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  175. Needless to say, the collective wielders of hard power at the regional level won't be funding an entire class of fake email jobs either, whether they're Appalachian clans, Italian mafia, Mexican drug cartels, or gangs from various post-Soviet diasporas.

    They'll be too busy trying to stabilize the foundation of Maslow's Hierarchy of Needs, not the top.

    No one cares about "finding themselves" anymore -- they want eggs to not cost 3 times what they used to just a few years ago, and ditto for rent, transportation, etc.

    This will solve the over-production of elite aspirants -- elites only thrive in a high-scale society, and as we decomplexify down to a regional and local scale, there simply won't be the funding there for tons of wannabe elites.

    And likewise for the over-production of working-class aspirants through economic migration. Sorry, economy's full -- if we let all you in, it'll destabilize the system we're trying to stabilize.

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  176. Final remark, on Trump's retarded "plan" to de-tax overtime pay. First, he's already conceded the election by not blocking the Dems from doing the same trick they did last time. So it's a moot point anyway.

    But as it reveals the standard GOP mindset, it's worth a brief look. Very clueless people will claim it's a gift to his base -- but lowering taxes, while keeping spending the same or higher -- which Trump already proved he will do every year, from his 4 years in office -- will cause the national debt burden to explode, more so now with higher interest rates, or simply print the money to make up for the lost tax revenues.

    Greater debt and/or mass money-printing harm the very base Trump claims he's helping. Now they have to deal with double-digit inflation for the rest of their lives.

    And he didn't take anything away from his enemies -- he simply refrained from taking stuff from his own people, while continuing or raising the level of spending.

    This is typical neolib bullshit, from either Dems or Republicans. Tax credits, etc.

    Taking from his enemies, and rewarding his base would mean taking money from university endowment funds / Wall Street banks / teachers union pension funds / etc., and handing it out to his voters or funding projects that only Trump voters would enjoy.

    If he's going to not-tax his voters, he needs to over-tax his enemy's voters, to make up the difference and not further destabilize the collapsing economy. But none of these Reaganite shit-eaters will ever do that to the enemy's side, Trump included (as proven through 4 years of a track record as president).

    Again, none of these plans will take effect, since they've conceded the election theft already. But they can't even give their voters any juicy fan-fic to whack off to.

    Jack up taxes on the university endowments, to fund the ramped-up production of pickup trucks, whose assembly workers are now trending toward Trump, and then hand out these pickup trucks for free to rural and suburban residents.

    Or target the enemy's voters themselves, if you want to get real petty and vindictive -- a new 10% income tax if you live within a city, and the funds raised go toward building or preserving parks and other green spaces in the good ol' suburbs and rural areas.

    But this is all pointless. We'll only see that level of politicking when regional wielders of hard power start to take over... sooner than later, probably within our lifetimes.

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  177. We're going to DOUBLE pickup truck production, and we're going to make ECO-TARDS pay for it!

    "How would that work specifically?"

    Easy, folks -- you just levy a 1000% sales tax on every electric or hybrid vehicle purchase!

    Remember when 2016 Trump said we're gonna build a wall -- and we're gonna make MEXICO pay for it! *That* is taking from your enemies to reward your friends.

    Trump failed to do that one iota while in office, and by now -- and even in 2020 -- he doesn't even bother with the performative schtick during his rallies. Sad!

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  178. About the "finding yourself" phenomenon - this equally applies to the Eurolarping right who spends all their time reading Nietzsche and posting on Twitter about HBD and race under a Greek or Roman statue avatar.

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  179. "We probably won't even bother with elections either -- the practice has become too discredited and tainted by Democrat election-thieves since 2020, and a fair amount of disaffection and cynicism even before then."

    How do political realignments happen in non-democracies where there aren't any elections?

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  180. Succession crisis, followed by a new dynasty being founded.

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  181. Democrats grinding the postal service to a halt for citizens, while they reroute so many USPS man-hours to stealing the election, is compounding their self-delegitimation.

    It's bad enough to flagrantly steal the election -- nobody will respect the results, who wasn't already in your coalition.

    But it's not like they're spending their own donors' money to steal the election, hiring armies of door-knockers to annoyingly canvass on behalf of their candidate, etc. That was the old way, pre-2020.

    In fact, even the Crooked Hillary campaign didn't do that -- they famously didn't campaign in Michigan, unlike El Bernarino and Trump-o-rama, which is why they lost the primary to Bernie, and the general to Trump, in this crucial Rust Belt state with a large population and tons of electoral votes.

    Obama was their last good-faith effort to persuade Americans who aren't already flaming libtards, fight hard to win honestly, and go the extra mile to cross every t and dot every i regarding upholding the standards and procedures -- like releasing his birth certificate.

    Go back and watch The War Room, the documentary of the 1992 Clinton campaign as it was happening. Totally different world from the woketard 2010s and disintegrating 2020s.

    But in addition to shredding their legitimacy by stealing the election, they're fucking up the sectors of society that they control, by commandeering them for the purpose of election theft. Nobody likes when the mail grinds to a halt, especially since the election and its aftermath knocks out multiple major holidays when people send cards and gifts through the mail -- Halloween, Thanksgiving, and Christmas.

    I'll never forget how late the mail was around Christmas 2020. It'll be a joke this year, too. Democrats choose to ruin Christmas for all Americans, just to steal their way into an office where they will wield no power anyway, provoking only dismissal and non-compliance from the population.

    That's right -- Democrat voters don't have a get out of jail free card, just cuz they vote Democrat. They're paying double the rent they used to, their food bills are double or higher than they used to, they're paying $3.50 per gallon of gas instead of the $2 it was throughout 2020, and the packages they're sending or receiving will be delayed indefinitely during election-theft season.

    Democrats, like Republicans, of the neolib age do not rob their enemies to hand out free shit to their friends. It's not like the Biden admin has raised gas prices to $4 per gallon for Republicans, in order to keep it only $2 per gallon for Democrats. Everyone suffers under this laughing joke of a usurper administration.

    Grinding the mail to a halt is just one more reason for Americans to hate Democrats, withdraw their loyalty, and broadcast their support for any would-be replacement who would actually make sure the mail gets delivered on time.

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  182. I wonder if the Germanic warlords of Dark Age Italy played an active role in driving out the non-Italians who had swarmed into the peninsula during the heyday of the Roman Empire.

    We know there were tons of non-Italians during the empire's height, and after the empire collapsed, they basically vanished.

    As far as I know, there are no mass graves of them, as though they were summarily executed. They just left the territory, and no one from their homeland took their place on Italian soil ever again.

    Certainly they could have made these decisions of their own volition -- "Gee, this ship is really sinking, better GTFOH and head back to the motherland" if they were already in Italy, or if they were in their homeland and contemplating migration to Italy, "Nah, that ship is sinking like crazy, why leave everything behind just to jump onto a sinking ship?"

    But the seemingly fast pace at which they disappear from the written and material record suggests maybe there was another force giving them a strong push out the door, to hasten them along in their decision-making process. Such a force would have only added to the list of "cons" as they're contemplating living in Italy during post-Roman collapse --

    "Nah, not worth getting harassed and possibly ethnically cleansed by those new Germanic warlords, who aren't keeping us around like the Roman emperors and patricians used to in the good ol' days of the Empire..."

    Huge-scale, highly diverse populations can only survive in an empire at its peak. So it's not like the Germanic warlords wouldn't prefer some cheap labor -- but in a de-scaling society, like a collapsing empire, there's a lot less economic and other activity going on. The total number of man-hours required to run the new de-scaled system is a lot lower than it was for running a sprawling multinational empire. And there are plenty of cheap laborers already within Italy -- Italian peasants.

    There's simply no material need for the extra hordes of foreigners that there was under the empire's peak. So the new warlords of the post-imperial collapse stage will put up a sign that says, "Country's full -- do not come".

    Hordes more foreigners only means antagonisms and conflicts erupting around the land, and that's an extra headache for the warlords to have to police and pacify. It'd be better if the population were docile and obedient -- and that's more likely when they're basically taken care of, and aren't domestically competing with a giant foreign population.

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  183. Maybe there are off-hand remarks to this effect in Italian chronicles, or Near Eastern sources, noting how openly discouraging the new Germanic warlords are about foreigners settling in Italy -- other than themselves, naturally!

    But sometimes it takes a small foreign group to lead the nation in driving out an even larger group of foreigners. And the natives will have no problem with that arrangement, if that's the best they can hope for.

    Just like a small Norman nobility uniting England to drive out the bitterly hated Viking invader leadership, and perhaps the ordinary Norsemen who'd settled England under their rule as well.

    As in post-Roman Italy, I'm sure there's still some Norse DNA floating around the former Danelaw in England -- but I'll also bet that percentage used to be a lot higher during the Danelaw period itself! A lot of those Norse invaders and settlers simply disappeared, as the Viking Empire collapsed, and as a new crop of originally foreign warlords drove them out by force.

    In that case, we do know that the new warlords played an active role in driving out the foreigners at the political leadership level. But I'm sure there are records of the Norman-era nobility harassing the non-political Norse settlers into setting sail back to Denmark, or at least getting out of the desirable land and shacking up instead in an undesirable spot like Orkney or the Shetland Islands, if they must remain within the British Isles.

    I'm sure the coming warlords, some of whom may be of foreign origin, will act just the same as they reconfigure the collapsing American Empire into a de-scaled assortment of rump states, where hordes of foreigners will simply have no place.

    If libtards look at who's likely to rise in power in the Los Angeles metro area, and think the mafia of Koreatown, or MS-13, or the vestiges of the Bloods and Crips, are going to expend their precious resources in order to flood 20,000 Haitians into L.A., they had better think again.

    Although gangs, mafias, and cartels are technically non-governmental organizations, they aren't a part of the NGO network, they don't get funded by the trillions of new phony dollars that the Central Bank prints up, and they have every reason to drive out a recent wave of 20,000 Haitians who got dumped into their domain before the rise of the warlord era.

    Foreigners and immigrants will be tearfully begging for a return of the white man to rule over L.A., as it becomes ruthlessly cleansed by cartels made up of non-woke brown and yellow leaders, perhaps literally foreign-born.

    They may vote Democrat today, but when Persian and Armenian mafias take over L.A. in the post-imperial American era, it's so over for the hordes of foreigners there. There will simply be no slots for them to fill in a rapidly de-scaling society, and foreign-born warlords will not give two shits about woketard whining and accusations of waycism.

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  184. Woketards have already sensed this shift, BTW, that's why they hurl accusations of "multiracial whiteness" (NPR) and "white supremacy, with a tan" (CNN) at anyone, even if they're not white and even if they're literally foreign-born, who wants less immigration or repatriation of foreigners.

    Sadly for the media and schooling cartels, their soft power is non-existent anymore, and they have no hard power. The Persian, Armenian, Korean, and Sinaloa mafias who take over L.A. and begin purging it of the superfluous foreigners -- who will be huge in numbers, as a mismatched holdover from the peak-empire era -- won't be phased for a second by some WASP or Ashkenazi whiner from a New York media outlet or New England university.

    East Coast wordcels will be powerless to halt the hard power shift toward tan warlords, and their native white supporters, purging even larger numbers of brown and yellow bodies from L.A. and other areas like it, in the cold rational interests of de-scaling a crumbling empire, not ethnic hatred or whatever scare-words the whiners will impotently lob at the warlords' fortresses.

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