Always check previous page for missed posted items ~
***
It's All Going to Pot
Willie Nelson, Merle Haggard
Always check previous page for missed posted items ~
***
It's All Going to Pot
Willie Nelson, Merle Haggard
Last edited by giovonni; 3rd September 2016 at 03:22.
a good one ...
Phil Escott - Holistic Health and Natural Healing
LegaliseFreedom1
Book:This covers Phil’s story of the onset of symptoms, the despair and pain that followed, the frustrations with the doctors’ ineffective chemical approaches, and finally finding success through diet, lifestyle and emotional balancing. There are laughs and a wealth of practical advice on subjects seldom touched upon such as ketosis, cold thermogenesis, circadian rhythms and delving into the real root causes – our myriad ways of not loving ourselves or our circumstances, which eventually manifests in disease as the body follows suit. It’s a tale of discovery, failures, successes, awakenings and ultimate surrender. It’s like no other story of recovery that you have ever read. Forewords by well known neurosurgeon Dr. Jack Kruse and naturopath Gabrielle Heyes. Cover artwork by Karen Halewood.
ARTHRITIS - The Best Thing That Ever Happened to Me.:
Healing The Pain Of Psoriatic And Rheumatoid Arthritis
And How Autoimmunity Can Heal Your Body And Soul
Published on Sep 1, 2016
it doesn't have to be fairies to be magic
chaotic swarming of mayflies on Hungary’s River Rába
Imre Potyó, Winner, Hungary National Award, 2016 Sony World Photography Awards
www.worldphoto.org
fourty-two (3rd September 2016), giovonni (3rd September 2016), Star Tsar (3rd September 2016), william r sanford72 (3rd September 2016)
Experiencing one live is not like a swarm of mayfles though ...
Posted by giovonni (here)
Oh they do exist ... wink/wink
Will share these here ...
From the Great Northwest ...
Some brand new photos from my friend Aurie ...
Fresh fairy's
Fresh Orbs !
Last edited by giovonni; 3rd September 2016 at 05:01.
What Could Go Wrong? ...
Homeland Security Wants to Take Over Elections
his latest musing ...
#Erdogan #Assad Summit? And Democratic Reflections & Hybrids - Morris
"Shot and edited on a phone - my excuse for any mistakes."
Published on Sep 2, 2016
"I don't want to be remembered. I want the nice words when I can hear them."
Jerry Lewis
Everything’s Coming Up ‘Max Rose’
The vulgar, overbearing style of the phenomenon called Jerry Lewis has never appealed to me, but hidden in the rafters of his broad, obnoxious brand of comic violence has also been a lurking sensitivity waiting to get out. He’s played a few dramatic roles before, including Martin Scorsese’s The King of Comedy (1982) and the most eagerly awaited film of his career, which he has never allowed the world to see—an epic of controversy called The Day the Clown Cried (1972) in which he played a clown in Auschwitz who lured little children into the gas chamber. I’d pay real money to see that one. Meanwhile, his wide, varied palette has never been more evident than in Max Rose, a tender showcase for a different kind of Jerry Lewis that utilizes the strengths and frailties of a 90-year-old show business survivor as few films have ever done.
Bulbous and stooped, his touching portrayal of the challenges of old age is beyond expectation. With grainy eyes staring blankly into space, his tongue protruding slightly to show fatigue, Max Rose, a once-famous jazz pianist, is in the December of his years. At 87, after 65 years of marriage, his beloved wife Eva has died, leaving him lost, bewildered, angry and rudderless. Shown in flashbacks, Eva (the elegant, patrician Claire Bloom) was a life partner who gave him life support. Now, struggling with even the most common of household tasks, he can scarcely open a can without her. His estranged son Chris (Kevin Pollak) and loving granddaughter Annie (Kerry Bishé) try to help but meet constant rejection from the cantankerous Max, a psychological portrait of an octogenarian in despair. As the days painfully dwindle, like irritating raindrops on tin, Max gives up on life and moves reluctantly into an assisted living facility where he bonds with another resident (Mort Sahl) and a social worker (Illeana Douglas) tries to interest him in meaningless activities. Then one day, everything changes. While sorting through the mementos his wife left behind, he finds a gift from another man she had hidden since 1959, and it unhinges him. Was Eva unfaithful and their marriage a sham? To keep his mind and body moving, Max tracks down her secret lover, who turns out to be not a rival but just another old man, this one in the terminal stages of emphysema (a wrenching performance by an unrecognizable Dean Stockwell), and Max faces the reality of life vs. death, redemption vs. surrender and acceptance vs. defeat. The ending has elements of schmaltz that I predict will induce mixed reactions.
Max Rose was completed three years ago and unveiled at the 2013 Cannes Film Festival to a scathing critical reception. Variety labeled it “excruciating.” Although far from what I’d call an unqualified artistic triumph, I must disagree with such a harsh assessment. (The film has now been completely recut and is being released in an entirely new version that is different from the one that was shown in Cannes.) Movies about senior citizens usually spell box-office calamity, but I like the way this one treats the fear of aging and life’s inevitable third act with the dignity it deserves. First-time writer-director Daniel Noah lacks the experience necessary to flesh out three-dimensional personalities in less than an hour and a half, but I like the sympathetic way he treats his characters (well played by a uniformly polished cast) without excessive sentimentality. I also applaud the lack of bug-eyed grotesqueness that typifies Jerry Lewis films in general and admire the way he uses his own loss of hearing, eyesight and dexterity to such good advantage. Maybe not a historic achievement but a gentle reminder that age has its advantages at the movies.
source page
Max Rose Official Trailer 1 (2016) - Drama
Written and directed by: Daniel Noah
Starring: Jerry Lewis, Kerry Bishe and Kevin Pollak
Running time: 83 min.
from drama to comedy ~
See Christopher Guest's Wild, Hilarious 'Mascots' Trailer
Film will premiere on Netflix this fall ...
The trailer for the new Christopher Guest film, Mascots, shows members of his troupe of players hilariously competing to win the "Gold Fluffy," a trophy at the Eighth World Mascot Association Championships, a competition for sports-team mascots.
An anatomically correct donkey, a giant fist and a bizarre pencil-and-sharpener duo, are all presented in Guest's signature deadpan mockumentary. The film chronicles both a backstage look at the awards ceremony and the "drug and sex problems" pervading behind the scenes.
Many of the actors and actresses, which include Jane Lynch, Parker Posey, Fred Willard, Ed Begley, Jr. and others, have appeared in Guest's previous films like Waiting for Guffman and Best in Show. Guest wrote the picture with actor Jim Piddock, who has appeared in The Prestige and Austin Powers in Goldmember among others; he also wrote the story for The Man, which starred Samuel L. Jackson and Eugene Levy.
The film will premiere at the Toronto International Film Festival next weekend and will come out globally on Netflix and in a limited theatrical release on October 13th.
source page
Netflix US & Canada
"Put your game face on. Mascots comes to Netflix on October 13."
Published on Sep 1, 2016
hmm ...
His name is Control
"Like many people, I grew up immersed in the so-called “extra-terrestrial hypothesis” popularized during the 1990s by shows like “Sightings”, “Unsolved Mysteries”, and the – horrifying at the time – adaptation of Whitley Strieber’s Communion. I huddled under the sheets in my bedroom, scared out of my wits every single night that I would abducted by the Greys, spirited away to a UFO where I would be cut, probed, prodded, and experimented upon. I had nightmares about their scowling, almond-eyed faces. I had triumphant dreams where I fought back, tore them limb from limb with my nine year old hands, rejoiced in their fear and inhuman screams. The idea that Earth was under constant assault from alien forces, perhaps even guided and supported by our very government, was a given to me. I would lie on my back in my driveway every night, looking for strange lights in the sky, and would tell my teachers at school about the grand conspiracy being perpetrated against the human race.
And then, tired of my constant nightmares and inability to get a good night’s sleep, my parents wisely banned me from watching anything UFO or alien related. No more “Sightings”, no more “Unsolved Mysteries”. For a while, I forgot about those huge black eyes and strange lights zooming around in the night sky. However, this changed in the sixth grade, when I made friends with a new girl at school who told me that, without a doubt, she had been abducted by aliens and gave me a detailed account of her experiences. Suddenly, the whole top blew off again. The seminal conspiracy television show “The X-Files” debuted, and my friend and I watched it every single week. I began thinking about aliens again. Remembering the film adaptation of Communion, I went to the local library the summer before 7th grade and found they had a copy. I devoured it, always making sure to turn the book over every night so I wouldn’t wake up and see that face staring at me in the middle of the night.
Communion was an important book for me in a lot of ways. First and foremost, it planted the idea that perhaps the strange kidnapping creatures that Whitley and others were encountering were not from another planet at all. Strieber never refers to them as such, in fact going to great lengths to avoid making that statement. Secondly, I read Communion at around the same time I had my occult awakening, when I came into contact with both Wiccan and Kabbalistic ritual materials. Several of my close friends were dabbling in the occult, and I saw a heavy occult symbolism in the experiences that Whitley went through, and in the phenomena at large. I started to see cracks in the extra-terrestrial hypothesis.
What tore those cracks wide open, and shattered the ETH forever, however, was John Keel’s unparalleled work The Mothman Prophecies. My dad had an old, ragged copy of The Mothman Prophecies that I stole from him and had been reading, off and on, since I was in the third grade. Having little context for the book when I was that young, I simply enjoyed reading stories about monsters and UFOs. But, when I combined Keel’s thoughts on the phenomena found in Mothman with the skepticism introduced by Communion, I finally realized that the extra-terrestrial hypothesis, at least in the sense that aliens were travelling to this world in nuts-and-bolts spacecraft and doing experiments on human beings, was bogus.
In particular, Keel makes the following statement about the messages of UFO occupants in Chapter 12 of The Mothman Prophecies:
I started to see the similarities in messages presented to contactees such as Woodrow Derenberger and others was simply a repackaging of the ideas and messages presented to the prophets and shamans since the beginning of human history.Even more interesting is the fact that the messages received by psychics everywhere bear remarkable similarities in content, even in phrasing. I have researched obscure contactee type books written two and three hundred years ago and have found the same identical messages and phraseology were prevalent then. Since much of this literature is very obscure and hard to find, and since many of our psychics and contactees are poorly read, it is doubtful if this is a question of fakers repeating the earlier material. Rather, it seems as if there is a phonograph in the sky endlessly repeating the same material generation after generation as if there were a crack in the record.
Jacques Vallée’s groundbreaking 1979 book Messengers of Deception proposes the idea that the UFO contact phenomena is, in a large part, a method of control exerted by some other intelligence in an attempt to manipulate human activity and culture through deception and myth creation.
Two passages from William Burroughs’ 1975 essay “The Limits of Control” stand out in particular when applied to the UFO contact phenomena. Consider the following:
So much of the UFO contact phenomena seems to revolve around these attempts by some unknown force to guide humanity through some grandiose message. Much of the time this message seems to fall into two categories – that mankind must treat others with kindness and respect, or that mankind must prevent the planet from being destroyed by some force. In the case of the latter, this force seems to change depending on the anxieties (or perhaps the honest threats) of the era. In the atomic nightmare of the 40s and 50s, the message warned of imminent nuclear destruction should mankind continue to proliferate atomic weapons. Later, in the 80s and 90s, contactees were warned of environmental dangers, being told that mankind was on the path to destroy this planet through climate change. Whatever this intelligence is, at least on a surface level, it would appear to have our best interests in mind. But why?But words are still the principal instruments of control. Suggestions are words. Persuasions are words. Orders are words. No control machine so far devised can operate without words, and any control machine which attempts to do so relying entirely on external force or entirely on physical control of the mind will soon encounter the limits of control.
A basic impasse of all control machines is this: Control needs time in which to exercise control. Because control also needs opposition or acquiescence; otherwise, it ceases to be control. I control a hypnotized subject (at least partially); I control a slave, a dog, a worker; but if I establish complete control somehow, as by implanting electrodes in the brain, then my subject is little more than a tape recorder, a camera, a robot. You don’t control a tape recorder – you use it. Consider the distinction, and the impasse implicit here. All control systems try to make control as tight as possible, but at the same time, if they succeeded completely there would be nothing left to control.
One of the aspects of the contact phenomena is how it breeds hierarchy and creates prophets – or cult leaders – that bring humans together and create structure through which civilization and culture can develop. Terrence McKenna postulated that religion as a whole was inspired by the effects of entheogens such as psilocybin. It’s to be noted that many of the UFO contact experiences are similar to the visions experienced by users of enthogenic substances. While early homo sapiens likely had hierarchical structure similar to the structures existing in other primates, it appears that these contacts with – for lack of a better term – a Spirit World through either the use of entheogenic drugs or UFO contact style encounters created a new hierarchy: the shaman. Through the use of religion, these shamans – liaisons between common man and the spirits – were able to exercise control not strictly based on pure materialistic qualities. And through the revelation of magical techniques, these shamans were able to perform miracles and effect change in the environment in accordance with will, further cementing their structure, a structure revealed to them and guided by the hand of these extra-human intelligences.
While it doesn’t really touch on the more esoteric ideas I’ve presented here, you’d be well-served by checking out the excellent BBC World Service series “The Forum” and their four part series on hierarchy in humans. I’m placing the link in the sources at the end of the article.
So it appears that some external (alien, if you will) intelligence that may or may not be extra-terrestrial in origin has been subtly manipulating mankind’s social strucutres for the majority of human history through hallucinatory encounters with otherworldly beings and strange lights in the sky. These encounters are perhaps the only way this intelligence can communicate with humanity. Perhaps it has as much trouble trying to talk to us as we would have attempting to communicate with a hive of ants.
This co-creation aspect to the phenomena is vastly interesting to me. Vallée’s other groundbreaking work, Passport to Magonia, exposed thoroughly that UFO contact phenomena had been going on as long as there had been recorded history. He showed that the phenomena melded itself and manifested using the imagery relevant to the era. It’s not just that people in the 1400s could only describe a UFO as a flying ship, they literally saw a flying ship – anchor, sails, and sailors included. It’s not that they misinterpreted a space alien for a winged angel, they actually saw a winged angel. Just as people saw mysterious flying airships in the 1800s, so did observers in the 1950s see the flying saucers popularized by their movies and television shows. The vast array of monsters and weirdos present in the UFO contacts of the 1950s, 60s and 70s is because there was no central meme that pervaded popular culture. It wasn’t until the ubiquitous image of the Grey was thrust into the forefront of the experience by the Betty and Barney Hill case, the works of Bud Hopkins and Strieber’s cover for Communion did the meme of the Grey solidify and dominate the narrative. I don’t believe that the phenomena manifests itself using these memes intentionally, but rather these are the building material it has to pull from human consciousness in order to manifest. Again the analogy of the human trying to communicate with the ant. Our only way to get the ant to move in the way we want it to move is to gently nudge it, scare it perhaps, or shine a magnifying glass that’s amplifying the rays of the sun.
But again, why? Why do these intelligences have this invested interest in humanity in particular?
Many ufologists and researches endlessly concern themselves with the “how” of the phenomena. While I also find the “how” extremely compelling and have plenty of my own theories about it, ultimately I don’t believe that’s the important question to ask. It’s quite possible that this question is fundamentally unanswerable. Maybe trying to determine how the phenomena manifests or affects human consciousness in the way it does is akin to attempting to explain to a two-dimensional being what a sphere is. We utterly lack a context for the information.
A better question, I think, is “why”. Why would a supernatural, possibly external intelligence be attempting to communicate with us? Is it perhaps out of pure curiosity? We keep pets such as dogs and cats and speak to them, but they are fundamentally incapable of understanding our intentions or language, except on some empathic level. Although, given the high strangeness of the phenomena at large, perhaps it’s fallacy to believe there is any logic to it that a human being can understand. Even further along that path, there’s no reason the intelligence behind it has to have a motive at all – to think otherwise is to anthropomorphize a phenomena that is likely anything but human. I’ll leave you with a quote by Damon Knight – famously misattributed to Charles Fort by Keel in his closing line to The Mothman Prophecies – that still resonates with me, and that I try to remember whenever I explore this world:
If there is a universal mind, must it be sane?"
*** *** ***
About
Wren Collier is an avid scholar of the paranormal, having been obsessed from an early age with the anomalous and the occult. Originally from the American South, he currently lives in Minneapolis, Minnesota. He is currently working on a book about monsters.
From ~ Liminal Room
Thoughts on the anomalous, explorations of the supernatural
Sources:
Keel, J. 1975. The Mothman Prophecies. New York: Saturday Review Press and E. P. Dutton. ISBN 0-8415-0355-9.
Messengers of Deception: UFO Contacts and Cults (paperback ed.). Ronin Publ. June 1979. ISBN 0-915904-38-1
http://eng7007.pbworks.com/w/page/18...rroughsControl
http://www.botany.hawaii.edu/faculty...35/Lect20b.htm
BBC World Service – The Forum: Hierarchy – http://www.bbc.co.uk/programmes/p02dsb4q
Last edited by giovonni; 3rd September 2016 at 16:19.