Jean Sibelius – Symphony No. 7 (1924)

From Wikipedia:

Symphony No. 7 in C major, Op. 105, was the final published symphony of the Finnish composer, Jean Sibelius. Completed in 1924, Symphony No. 7 is notable for being a one-movement symphony, in contrast to the standard symphonic formula of four movements…

The form of the symphony is startlingly original. Since the time of Joseph Haydn, a movement in a symphony would typically be unified by an approximately constant tempo and would attain variety by use of contrasting themes in different keys. Sibelius turned this scheme on its head. The symphony is unified by the key of C (every significant passage in the work is in C major or C minor), and variety is achieved by an almost constantly changing tempo, as well as by contrasts of mode, articulation and texture….

Although the symphony apparently first existed in embryonic form in D major, it eventually attained the home key of C major. There was a time when composing in C was considered fruitless—it had “nothing more to offer”. But in response to this symphony, the British composer Ralph Vaughan Williams said that only Sibelius could make C major sound completely fresh. Peter Franklin, writing of the Seventh in the Segerstam–Chandos cycle of Sibelius symphonies, calls the dramatic conclusion “the grandest celebration of C major there ever was.”

An interesting factoid that may serve to contrast the Aryan vs. Semitic aesthetic sensibility:

[Sibelius’] later works are remarkable for their sense of unbroken development, progressing by means of thematic permutations and derivations. The completeness and organic feel of this synthesis has prompted some to suggest that Sibelius began his works with a finished statement and worked backwards, although analyses showing these predominantly three- and four-note cells and melodic fragments as they are developed and expanded into the larger “themes” effectively prove the opposite.

This self-contained structure stood in stark contrast to the symphonic style of Gustav Mahler, Sibelius’s primary rival in symphonic composition. While thematic variation played a major role in the works of both composers, Mahler’s style made use of disjunct, abruptly changing and contrasting themes, while Sibelius sought to slowly transform thematic elements. In November 1907 Mahler undertook a conducting tour of Finland, and the two composers were able to take a lengthy walk together, leading Sibelius to comment:

I said that I admired [the symphony’s] severity of style and the profound logic that created an inner connection between all the motifs … Mahler’s opinion was just the reverse. “No, a symphony must be like the world. It must embrace everything.”

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Red Ice Hacked

In the immediate aftermath of Charlottesville, Red Ice TV, a media platform that does great indispensable work, has been hacked (via a very high level of hacking skills).

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Iris Apfel

I happened to be flipping through the channels the other night and came across a PBS POV series episode called Iris, about Iris Apfel. From the PBS page is this synopsis:

Iris pairs the late documentarian Albert Maysles (Grey Gardens, Gimme Shelter), then 87, with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how a soaring free spirit continues to inspire. Iris portrays a singular woman whose enthusiasm for fashion, art and people are her sustenance. She reminds us that dressing — and indeed, life — is nothing but a grand experiment. “If you’re lucky enough to do something you love, everything else follows.”

Apfel is a walking stereotype of the gaudy Park Avenue Jew, and if watching this documentary leaves you with one lasting word or image, it might be: gaudiness.

Physically, Apfel is a not an attractive woman, her Semitic features most pronounced with her advanced age, and her requisite whiney Jew accent and constant state of anxiety conjuring an image of Woody Allen in drag.

Her husband appears as a sort of devoted stooge, an equally stereotypical NY Jew who serves as unfunny comic relief. He also serves the role of cuckholded mannequin for Iris, regularly tasked with displaying his wife’s awful style. We see him in a wheelchair, wearing bright pants covered with a floral pattern, or wearing a bright red baseball cap embroidered with what seems to be two fistfuls of marble-sized gold studs.

In one sequence early in the film, we see a gay black fashion designer pushing Apfel in a wheelchair as he takes her into a tiny, hole-in-the-wall, clothing and accessory shop in Harlem. Apfel praises the African styles of Harlem, the gaudy colors and clunky jewelry being tribal styles she herself has quite successfully ‘culturally appropriated’ into pastiche from the very blacks she now deifies or otherwise employs as maids, drivers, or assistants. Despite being fantastically wealthy — she lives in a 3-bedroom Park Avenue apartment and also has a black-housemaided apartment at Palm Beach Towers (where else) – we witness her haggle with the African-immigrant-accented, black shop owner relentlessly. And we’re talking about haggling a $10 bracelet (in traditional pan-African colors) down to $7, that sort of thing.

The theme of cultural appropriation and Jewish parasitism extends to Apfel’s initial foray into the vacuous world of ever-meta conspicuous consumption (aka ‘fashion’) where we learn she got her initial success from culturally appropriating medieval European tapestry designs and making them into wallpaper designs for wealthy New Yorkers. At one point in the film, there’s a moment of hilarious irony as Apfel bemoans the state of today’s younger designers, complaining how they don’t even stitch or make their own fabrics! And this is coming from a woman who essentially made a boatload of shekels by ripping off pre-existing styles. A second irony here is that the fashion mavens she bemoans are part of the logical trajectory of the vacuous fashion industry itself: an endpoint of pure marketed image, devoid of creative talent.

Whether it’s the fashion designer who can’t sow or the fabulously wealthy huckster who has underpaid assistants creating his ‘art’, locales like Manhattan are the epicenters of our contemporary, debased, neo-Weimarian era, and figures like Iris Apfel are among its grotesque and celebrated elder pioneers.

Full documentary:

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Unite The Right

So, the Unite The Right rally in Charlottesville, VA has turned into a lead, national news story.

Despite a court order injunction allowing them to assemble, after event organizer Jason Kessler successfully sued the city, libtard Gov. Terry McAulifee then declares a “state of emergency”, a pretext upon which to shut down the event. Therein, militarized police and the National Guard proceed to disperse the violent antagonistic Antifa activists the white nationalist rally attendees.

Richard Spencer has some interesting on-site videos of the activity, including Robocop-looking police making him and other attendees.

As I write this, the ongoing live coverage is quite telling. CNN is naturally calling them “white supremacists”, while FNC calls them “white identitarians”.  The occasional idiot 1488 LARPer gets plenty o’ coverage on CNN, but none of the networks are able to spin footage of Antifa activists as anything other than what they are: self-hating whites wearing pink caps, cat ladies with flower hats, aged hippies in tie-dye shirts, dreadlocked wiggers, and obese womens studies majors with tattoos and green hair.

Trump tweeted the rather obscure: “We ALL must be united & condemn all that hate stands for. There is no place for this kind of violence in America. Lets come together as one!”, whereas Chief Cuck Paul Ryan, on the other hand, tweeted: “The views fueling the spectacle in Charlottesville are repugnant. Let it only serve to unite Americans against this kind of vile bigotry.”

Alas, the minority FNC anchors at this time (they always put the affirmative action action picks in weekend afternoon spots or overnight spots) includes a very angry Julie Banderas, whose MSNBC-styled characterizations of the white nationalists (e.g, the need to stop their ‘dangerous hate speech’) ought to make the Twitter rounds.

UPDATE: MSNBC is characterizing Trump’s press conference as one where he appeared “uncomfortable”. Then, that network’s pajama boy anchor finds Trump’s statement “There is bigotry on many sides,” as “perplexing”.

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Lord Knows

CNN has finally found a pretext to fire Jeffrey Lord, therein bringing its pro-Trump pundit roster from 1 to o.

Lord was one of the only reasons to ever watch CNN, that is, if you ever stumbled across the channel.

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The Ethics of ‘No Borders’

Breitbart reports: “Italy Releases Evidence of Open Borders NGO Taking Migrants from People Smugglers”.

In terms of a consistent philosophical ethics, such would be the logical extension of liberal ‘All are welcome’/ ‘No borders’ types. In fact, their philosophy ought to call for the moral duty of Westerners to directly provide safe passage of migrants, so as to avoid the inherent dangers of such journeys (aka Syrian Beach boy.)

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This should do wonders to challenge Jewish stereotypes:

Coming soon to your community may be the first ever international Jewish currency, dreamed up by a Russian entrepreneur.

BitCoen, an electronic crytopcurrency based off of the idea of BitCoin, is set to launch in September…

The currency will be based on the value of the US dollar, with each BitCoen token available for one dollar. The plan is to initially issue 100 million BitCoens.The company hopes that they will be able to circulate up to $1.5 billion in the first two years.

While anyone can purchase tokens, the company will be managed by a ‘Council of Six’ made up solely of Jewish representatives. The representatives will likely be prominent leaders in both public and private sectors, though there is no word yet as to the planned demography of the leaders.

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NYT: 8/9/17

A couple of recent NYT stories include “The Alt-Right Finds a New Enemy in Silicon Valley”:

For alt-right activists, who occupy the rightmost flanks of a powerful conservative internet subculture, Google’s response to Mr. Damore’s memo was low-hanging fruit for mockery. But there is another reason that the alt-right’s opposition campaign appeared so quickly, with such well-practiced maneuvers.

For the last several months, far-right activists have mounted an aggressive political campaign against some of Silicon Valley’s biggest players. Extending their attacks beyond social networks like Facebook and Twitter, tech’s typical free-speech battlegrounds, they have accused a long list of companies, including Airbnb, PayPal and Patreon, of censoring right-wing views, and have pledged to expose Silicon Valley for what they say is a pervasive, industrywide liberal bias.

Complaints like these might once have been easily dismissed. But in the Trump era, as the right wing’s internet warriors have refined their tactics and gained legitimate political influence, they are putting Silicon Valley in an uncomfortable position.

Another piece, titled “For the New Far Right, YouTube Has Become the New Talk Radio”, mentions vloggers Paul Joseph Watson, Stefan Molyneaux, Lauren Southern, and Stephen Crowder:

There are countless other forms of political expression on YouTube, but no bloc is anywhere near as organized or as assertive as the YouTube right and its dozens of obdurate vloggers. Nor is there a coherent group on the platform articulating any sort of direct answer to this budding form of reaction — which both validates this material in the eyes of its creators and gives it room to breathe, grow and assert itself beyond its immediate vicinity.

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Yard Signs

An anti-Trump fanatic shoots and kills his neighbor over an ‘argument’. Will the MSM investigate to see if politics was what they were arguing about? Do pigs fly?

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