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Art and Culture 38: Throw Boston Globe off the Bus!

18 Apr

For the Uncensored!

It seems to be the next best thing to make fun of people while they are dead, because there forbearers can’t come back from the grave and sue them into the next life. But it makes sense why publications are against Shakespeare. Shakespeare is the father of all English language. William Shakespeare is the founder of modern speech that we know it, and while I do realize that the earth was in a Pangea before, and we all could walk across each other’s land, it broke off for a reason. If the earth had stayed where it was, there would be no mystery to life. Which is why the Boston Globe is the next publication that has joined in the hatred against William Shakespeare. I’m all for debating the merits and logic of Shakespeare’s work, but at the cost of throwing Shakespeare out of being taught in schools, or being called “racist” is a sign that society can’t deal with the past.             

When the opinion writer, Anne Bernays said in her Boston Globe opinion piece, which was updated on April 16th, 2021, “Styron should not have written this book, not because of a lack of talent but because he “couldn’t know” what it was like to be a Black man who was enslaved by another person.” (https://archive.vn/wS0Zx)

This is when the writer should have pulled back. William Styron knew what he was doing when he wrote the Confessions of Nat Turner, and the idiotic reminder of why Anne Bernays has no imagination to write a book from another person’s point of view.

            She does bring up something true: “Follow the specious reasoning employed by such culture warriors: Children’s stories can only be written by children. The only person allowed to write a cookbook is a graduate of Le Cordon Bleu. If you haven’t lived it, don’t go near it or we’ll come and get you. Throw Shakespeare from the train: What did he know about how a jealous Black husband feels?” (https://archive.vn/wS0Zx)

            This is what we call in the fiction world, imagination, depth, putting yourself in other people’s shoes.

            I mean, since millennials (not this writer here) can’t process the idea of a genius like Shakespeare because they need to complain about every little detail that they hate, and this boomer article writer, Anne Bernays, thinks it’s cool to pretend the animosity people feel toward a writer who writes from a black character is bad, just like Shakespeare’s Othello. It’s like your high school English teacher being there to remind you of how bad a job you’re doing. It’s why academia and journalism are the most mocked courses in all of human history. Btw, you don’t need a course in journalism to tell people what’s going on.            

 But to remain on topic, Shakespeare would have laughed at these comments, because if you destroy history you are putting yourself in the guillotine, and cut your own head off by choice. Millennials and there boomer counterparts who write articles like “Throw Shakespeare off the Train” is why I have little patience for there antics. But she does save herself at the end by saying, “One of the most harrowing of all war novels, “The Red Badge of Courage,” about a young Civil War deserter, was written by Stephen Crane, a man who had never taken part in any war. It is still deservedly in print after 136 years. He must have done something right.”

This article isn’t entirely about throwing Shakespeare off the train, but it does remind you that the Culture War of 2021 wants to take away every book that we love off the shelf. If people can’t find Shakespeare in a library or bookstore, it’s about censorship. Taking away books doesn’t mean people are safe. It only makes William Shakespeare, Dr. Seuss, Salman Rushdie, and every banned book a hot topic and people want to know what it is. 

            The left are gaining no traction, and the world we know is being threatened by communists who don’t like to read books. I think it’s time to read more books, and unsubscribe from Disney +, Netflix, and insert your favorite streaming service model here. But Shudder gets a break. 

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day (the bulk of his work will appear on substack officially). Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture # 37: Hemingway did not have leftist views

14 Apr

For anyone who thinks Hemingway had leftist views, really didn’t know Hemingway. If you think Hemingway gender swapping in bed, asking his then wife to call him a woman’s name, that’s not having leftist views. According to Ken Burns, this portrayal of Hemingway should be a a damning expose of how a man like Hemingway acted in bed, is not that damning. The truth is, Hemingway really didn’t have leftist views. Any writer who thinks that he did actually can’t give Hemingway the chance to be who he was. A man’s man. If he hated your writing, he outright told you. It’s because he was unapologetic, and he wouldn’t expect anyone in the future to apologize for him, or explain away his actions (secretly leftists will do that all the time when they do something wrong). 

            I think this proves that Hemingway would have never  apologized for what he did. No one should, and I invite you to kill yourself if you apologize with a half ass attitude. In this poisonous day and age, 2021, where the media celebrates people’s faults because they need clicks and readers attention, it’s not hard to profit from misery and rage. While writing and craft do not matter to a dying form, like novels, art, Ken Burns wants to show all Hemingway’s flaws, and I can respect him for giving Hemingway depth and personality and showing his flaws. It’s not a “gotcha” moment to not have leftists views, but it’s rather freeing. 

The only smear I see is that leftists want to add in bullshit about Hemingway’s views that don’t add anything to the man Hemingway was. Hemingway served in WW1 and was a combat reporter in WW2, and joined in on the fighting and took pride in hunting. Hell, Ralph Ellison sings his praises in the Ken Burns documentary as well.

            If you really want to crucify the past, you must crucify yourself. Which I won’t do. If people are mad about the past, go complain and virtue signal to hide your own bad thoughts. Scream about it, because it doesn’t hide the lefts real racism on the inside. Because the past is not clean and it didn’t care about politically correct thoughts, and it still doesn’t. You can’t hide from the past, and you can’t erase or denigrate writers like Hemingway for having troubles and being who he was. The only crime Hemingway committed is being imperfect, and thought crime in 2021, is all the rave.

            For 2021, people want everyone’s rough edges to be refined, and people don’t work like that. Having people act in a pristine manner is against human nature. Hemingway will always be read, and even if I don’t like his writing personally, I will defend his legacy because I would want the same done for me. And just because Hemingway was published by leftists, it doesn’t mean he held leftists views. Hemingway was imperfect sure, but for a quote from Charlie Wilson’s war summarizes Hemingway the best: “You can teach a man to type but not to grow tits.”

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture # 35: Cancel Culture is about Consequences and Pretenses

9 Apr

-For the Uncensored!

If Cancel Culture is the modern day witch hunts of Salem. It make sense. Witch hunts are made to create distrust in the community. Calling women witches and then trying them in a court of law because they were “evil” is the terrible price society pays when it will only believe and behave by one set of rules. 

            If Democracy should be about freedom of speech, ask Cuban political prisoners how that works when they are taught to read the crimes they are being convicted of. What is impossible to deny is that the Salem Witch Trials are still here. According to Global News on Meera Estrada on April 4th, 2021, “But cancel culture, or as I refer to it, consequence culture, serves as a means by which minorities and marginalized groups are demanding that public discourse shift from those historically in power, to include all members of society. It is about holding individuals and institutions accountable for their actions. It is about consequences for wrongful behaviour.” 

            But the thing is, Meera, if you thought about the Salem Witch trials, then people should have protected the witches right to practice being witches, but no one cared about the Salem Witches right to think and express “wrongful behavior.”

            The Germ of the Salem witch trials is still alive in America, and the left, who constantly blame white people for there problems but don’t take responsibility for their own lives. Art is about being an individual and not worrying about pretense or consequence.

            What CNN comments on everyday about “domestic terrorism” and “neo Nazi’s” is why the left are losing. There are no more white supremacists or people associated with the KKK, unless they are democrats, like Virginia Governor Ralph Northam, wearing black face at a party. But Cancel Culture didn’t come for him. 

            Cancel Culture protects the left and there repercussions, like Hollywood and there sexual molestation and rape charges. But the thing is, while Cancel Culture protects the left, the germ of the screaming townspeople yelling at women who were “witches” is where history must bear the weight of how modern culture pretends to care about freedom of speech. Art requires more freedom of speech. Art requires you to be daring when repressive moguls in Hollywood hate you for what you think. To think outside the box. But the left don’t want that. Think like the puritans during the Salem Witch trials as you hurt your family members by silencing there opinions or never speaking to them. That makes you a “genius level person” if you did that.

            The left are dishonest when it comes to freedom of speech, and Bill Maher sometimes has to be the one who calls his own party out, at some point. According to Glen Greenwald, once head of the Intercept remarked, “with Obama, the left’s view of criticism narrowed” causing them to shut down and never hear valid criticism. They cared less about freedom of speech and what people could actually say or ask.          

If the court had just laughed off the Salem Witch trials, there would be no dead women, hung after being found guilty of being “witches.” 

            It’s biblical. The action of consequence should not mean death or pretenses should not mean shaming or death would come with the ability to speak. Let’s all agree that idea should be left for dictators and warlords who commit worse crimes than any conservative star could do in a debate. Nor should pretenses mean that you can’t say anything either.

            What is sad is that Cancel Culture doesn’t allow the accused to be forgiven. It’s not the gulag camp, but eternal shaming. People shouldn’t be ashamed of opinions that offend people or be scared not to say anything. There should be no consequences for people asking questions either. 

People shouldn’t mind questions, but the more you question and mock, the left will hate you for it. Only leftists support Consequence Culture because they don’t mind being fired for no reason, and nor do they care about freedom of speech. They have no opinions, nor are they artists. But leave real opinions for free thinkers who don’t live in the idiot village the leftists live in. 

            But it’s fine. Everyone needs a villain. Villains do not always remain villains throughout the ages.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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The Cult of Hemingway

8 Apr

-For the Uncensored!

With much of Ernest Hemingway’s life and adventures that make up much of the cult of Hemingway’s writing, it makes an average reader marvel at the simplicity of writing. Yes, I am not at war with Hemingway’s shadow but nor do I find him a genius, by any means. What Hemingway did with his writing was ignoring what most of his peers, including Ezra Pound and Faulkner did, by complicating the text. Hemingway went for simplicity. “A true sentence.”

            I’m not angry at a man who had a bachelors life and had a lot of trust issues, which is common with most artists, and nor does his suicide signify his legacy. A writer committing suicide is probably the least noteworthy efforts of any writers accomplishments. He considered his father weak for committing suicide, and thus would then in turn push himself to committing the same act. It’s common for people whose loved ones to commit suicide to do it as well. So, I don’t fault him for Hemingway killing himself.

            But the cult of Hemingway’s writing is that while his major accomplishment of writing simply is part of the appeal of Hemingway, you can honestly lose a lot if you don’t pay attention and stop reading Hemingway just to get to the end of a book report. 

            What would make Hemingway racy and controversial during his heyday would not really matter to most modern readers anymore. Hell, the Marquis De Sade had his own version of how to torment his characters to such an extent that most readers don’t even go near his fiction, like Justine or Salo. What makes Hemingway attractive is the simplicity of his work, but does that simplicity mean a lot if you are reading him for a book review/report and you don’t slow down to get the subtlety of his dialogue to understand the pain the characters go through.

            My concern with Hemingway is not with the life of the writer in question. I don’t care about what he did in the past or outside of his writing to consider him a great writer. He was a hunter, womanizer, drunk, but does this really concern the argument in question.

            The cut of Hemingway is concerned with a a simplicity that often now is not even cared for anymore, or it’s disregarded in fiction. Simplicity is fine if you don’t have all the time in the world. Most difficult writers are ignored for the sake of a writer who writes simply. Hell if that’s true, James Patterson is avant garde and daring. Which he is not. 
            What Hemingway’s writing, whoever was inspired by it, would introduce a mediocre quality. A best seller list of authors who are about as anonymous names that you could pull out of a phone book. Hell, simplistic clear writing doesn’t guarantee you money or wealth anymore. Nor does a writers difficulty mean that he’s a literary genius. What Hemingway did introduce with his simplicity is what can not be duplicated.

            While I’m more of a Conrad, Kipling, and Pynchon fan, I do see why Hemingway is revered by book readers in general. But that doesn’t mean anyone who followed in Hemingway’s footsteps is a genius either. 

            Cormac McCarthy is the only one who might be able to wear the title of a most difficult but widely read writer who has a mass appeal, just like Hemingway.

            While I do see there is a cult and fascination with the past, and trying to cancel someone like Hemingway would undo the years of commercial writing, Hemingway’s simplicity can be seen as a crutch, if not paying attention.

            A question in some of my reviews, when I don’t get it is, “How can someone write so simply yet obfuscate the direction the writer is heading in.” That’s like taking Lovecraft’s weird warped vision but making it accessible, but still dense. It takes a genius to do that sort of writing, but Hemingway’s simplistic technique is why so many people like him. 

            I’m not coming down on Hemingway at all. I read like all young people Old Man and the Sea, and I thought it was important. But the overall starch quality of writing today can’t compare to the painful observations Hemingway adds in much of his work. Most would rather trade substance for starch, with writers like Dan Brown and James Patterson, taking accessibility, but allowing speed to take over for substance. Just because a book is fast doesn’t mean it deserves awards, fame, or monetary recognition. 

            Commercial writers can use both starch and substance and create really effective work. David Mitchell proves to make difficult work while writing simply and with a commercial appeal. A reader, and critics could confuse John Irving’s books reminiscent of Hemingway, but Irving is more of a Dicken’s fan, as Dickens used heavy emotion within a grand tapestry. Hemingway sacrificed much of a grand tapestry for a sparse declarative sentence. Irving relies on comedy and drama, but not just drama entirely. 

            It’s hard for me to consider Hemingway a great writer when he was a better editor. Dickens loved long sentences while Hemingway did not, which comes from his background in journalism. 

            I do think Hemingway did leave a legacy but those who copied his style do not do his legacy any favors, but also, how trite it can be, too. 

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and where he will post one article a day. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

http://www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture # 34: Why Protect Freedom of Speech (in Art and Life)?

6 Apr

For the Uncensored!

There seems to be no debate for all free thinking individuals who want to be able to be heard, but there are people out there who don’t want freedom of speech because they rightly have no answer to questions I or anyone else has. “Get that shot, because it will help you.” Oh yes, that’s what you hear in every single horror movie. The disease is the cure. But that idea and conversation all of a sudden is that you can’t have regular conversations like this. It’s not hard to have an answer, and even if it’s wrong, it can be debated with logic. 

            Logic is what makes us debate and how you phrase things can help people think like you. Emotional debates do not help logical discussions. It’s because someone has to be the grown up. They have to be better than the opponent. They can’t argue with them all the time, and in a logical debate, all you have to do, to puncture an emotional conversation is to use humor.

            Yes, humor in a debate can erase emotions. It calms the anger of your opponent. But today, the very idea of freedom of speech is protecting the very nature of art itself.

            Art can not be made by a committee. Art can not be made by a democracy. Art needs to remain singular and protected by Freedom of Speech. But today, no one wants to protect freedom of speech. It seems easier to just believe lies the television is telling you. Hey, vegging out on television is easier than reading a book. Some would rather take the Marvel films over Cinema, because they want to be entertained.

            Well, you can’t live off entertainment forever. It’s not bad to be entertained. But at some point, you have to graduate. And protecting freedom of speech is hard. No one wants to let an online argument go. Everyone thinks that’s real life. Think of social media as a honey pot for anger. Freedom of speech though should even protect us in the basis that saying things away from the work place has to exist or everyone will start eating each other up.

            2020 was a prime example. No one wants to fight for freedom of speech because it’s easier to blame people for problems instead of debating them, and putting the emotional left in there place. 

            If we don’t have freedom of speech, that means everyone could be crucified for what they say, as Jesus did for proclaiming he was the Son of God. Today, you would have just blown that person off, not crucify them. 

            Freedom of Speech means protecting those who you don’t like. It’s called being an individual in a mob mentality, on all sides of the spectrum. If no one is allowed to be taboo, no one can exist.

            Whether you are an artist or a regular person, freedom of speech means protecting art, words, images, and things you may not like. You can debate still, and if the other side doesn’t want to hear it, you won the debate. Logic is the key in freedom of speech. Getting rid of hate speech is not suppressing it either.

            Art is meant to let your darker images flow, and putting it down in Art will help you become a better person, and exercising demons in art help you relieve the will to attack people physically and emotionally. Whether through brush, pen, woodwork, all forms of art can help you become better.

            It’s why the left can’t debate because they have no will to create or be individuals, and while you have read many articles where I attack the left, I do benefit from art, images, language, that I find appealing. Most of the artists I read are leftists. I hold no apologies for what I like and dislike. I protect everyone’s freedom of speech because that’s what makes Art so great. 

            Instead of committing violence, writing it down in a story helps you relieve your pain and sorrow. Acting on violence only results in pain and agony. Innocents die because you can’t express yourself or say what you think. Art can help you better, and in art, with such trauma or idiosyncrasy, helps benefit your art and help you develop talent you didn’t think you had in you. Much like art, freedom of speech must be defended too.

            But here’s the whole deal of supporting freedom of speech. It’s sometimes an uneven fight. You may look like an asshole for defending freedom of speech, but those who defended freedom of speech, in the past, will die off, or sell out. You can have varying opinions on things, because people are complex, and being consistent is hard enough. Bernie Sander’s consistent support cf communism meant a deathblow in his chances to be president in 2020. He could have easily won the presidency if he hadn’t praised Fidel Castro. 

            I don’t take away his right to say what he wants. I mean, how could he be rich and support communism, is still a trick I would like to know how to do. I do defend anyone’s right to freedom of speech and sometimes, laughing at things can help you win debates too.

            I bring that up again for a reason. Winning the war on freedom of speech sometimes might not not just take facts, but also in how you deliver your words, and how you can win people over with logic and humor. They can go hand in hand. GK Chesteron is one person who managed to combine humor and philosophy together, with his work the Screwtape Letters. He had to make it interesting to outsiders. CS Lewis and Tolkien did it through story, and fantasy, using metaphors instead of outright theological messages.

            It’s about learning how to win arguments without getting emotional. In the digital world, freedom of speech, when you can’t see someone’s face, the humor and irony is missed with sardonic statements that can be used against people.

            Socrates was killed for his words, because they could use it against him. This is when government did not respect artists or philosophers and saw every means to destroy people and not have free and open discussions.

            America is not a democracy. It is a place where the oppressed search for freedom of speech. A truly open minded person, who cares about freedom of speech, has to let all manner of speech be heard. Or we are living in Communist China where Winnie the Pooh, the dictator of China, Xi Xi Ping, can limit freedom of speech however he wants, because he has a small dick.

            But freedom of speech, as I bring up Socrates, are those who died because they pushed back against the Oracles of his day, and questioned them. It’s easy to pretend that freedom of speech doesn’t matter when you don’t have any morals or principles to back up your lifestyle. 

            If you’re fine with living with limited speech, go there and find out what it means to be censored. Freedom of Speech means living with each other, in peace, and hearing what people have to say.

            Too many have died or been ostracized because they have expressed a different opinion. It’s hard to be better when you are demoralized all the time. America allows you the freedom to not hang around people you dislike. Which is good. You don’t and shouldn’t bother with people who want to commit physical violence, and I believe in self-defense (in both artistic forms, dialogue, and against a physical threat, too, which most countries forsake in order to have the safety of the government protect them, like Britain). 

            Because defending yourself physically is different than arguing with people, but today, both mean the same thing. It’s a dark time when lefties in general don’t care what you think, but if they can’t take a joke or listen to a differing opinion, they can get offline and stay in there bubble. I implore them to instead of committing physical violence against there opponents because you are only proving me right.

            Silence is not violence, and lefties view of “hate speech” is wrong, is false and disingenuous. But the phrase from Cool Hand Luke, starring Paul Newman comes to mind, “What we have is a failure to communicate.” 

            Because communication is the bedrock of all speech, good or bad, and if socially distanced lefties are reading this, and still feel differently, I think you may have come to the wrong article. Art and freedom of speech are intertwined, and it must be fought for with logic and communication.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and makes exclusive articles there. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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The Gina Carano Issue: Reports of Shadow Banning!

6 Apr

-For the Uncensored!

Celebrities attend the Artemis Women in Action Film Festival – Opening Night Gala in Beverly Hills, California.. .Pictured: Gina Carano. Ref: SPL 200417

Whenever I hear Gina Carano in the news, I am worried for her everyday. It’s like they are trying to get me angry and then want to call up Lucas Films everyday. A place that should be about imagination and discussion is a gulag where in place of money, you are offered no creativity or ability to speak. This is big at major companies, but this isn’t new or should it be. What is getting old is the hatred against Gina Carano, and in my article concerning Rosario Dawson, everyone in the Mandalorian camp is getting tired of the censorship and the hypocritical bullshit Hollywood loves to flaunt like a woman surprising her husband with a set of watches with her panties on top of it.  

            According to BloodyEblow.com, the response from Twitter is, “We do not shadow ban. You are always able to see the tweets from accounts you follow (although you may have to do more work to find them, like go directly to their profile). And we certainly don’t shadow ban based on political viewpoints or ideology.” Yeah, right, twitter. 

            There’s a few things to remember today: It’s probably because I have a big problem with the social media tech overlords restricting free speech, and don’t give me the “they are a private company they can do whatever they want.” Yeah, okay CNN, go spread your fake news articles somewhere else. I get the whole idea of private ownership. If you create a piece of art, and you sell it, and you own the copyright to it, that doesn’t always mean the buyer owns you entirely, just a copy of your work. It’s what media has come to as a whole. You buy a product, you should get what you pay for. But try getting a product from people who don’t want to be creative anymore.

            For this to happen, another idea needs to be discussed. There needs to be an understanding between an artists and his audience. It helps create a good recognition of the product, but does the artist have to rely on every piece of criticism? Yes and no. it is disconcerting and growing very tiresome that Lucasfilm doesn’t really care about the customer, and how people like me, an independent thinker, is having to rail against companies that don’t care about Republican actors. They can bring an edge a limp wrist pussy actors like Michael Cera can’t. Especially in muscle tone or masculinity. (Thanks for taking a joke Cera, now go away and pretend Scott Pilgrim Vs. The World was a thing).

            I know that audiences fill my bank account, and sometimes asking what your customers want makes you stand out from the group. It shows you are thinking about what your readers, collectors, are looking for, and what they might have to say. I get the selfish act of creating art, and in some cases, selling art is different from creating it. Lucasilms has seemed to lose that understanding with the audience.

With Gina Carano and Lucasfilm, this isn’t about if Gina Carano is untalented, or artistic, but her opinions differ from corporate group think business models. Or SJW nonsense Twitter politics. Which if that’s up for debate, the problem relies on Lucasfilm’s dissonance with the public, rather than Gina Carano herself. 

            She is not guilty of the charges made by social media check marked individuals, so that’s not the point. They, the soulless asshats pretending to be artists at Lucasfilm, fired Gina Carano to piss in the audiences face, again. They keep thinking “if we insult them they will buy more subscriptions.”

            It’s been happening for a long time, but they don’t like it when you talk back to them either. But the boomer logic is true, “If you can’t beat, them ignore them.” And that doesn’t work anymore. The audience will turn on you, today, and sometimes it’s the companies fault and maybe not. Companies who do this, result in shadow banning. Shadow banning is silencing people on social media platforms, which is taking away a person’s right to speak, while not telling them they are banned. Thus, results in Shadow banning.

            To summarize all of what was said before, companies have tried to shadow ban people, but alt tech exists for a reason. To help people have a home, and Gina Carano doesn’t need to be on Twitter to be heard anymore. 

            But if Lucasfilm is in cahoots with social media to foil Gina Carano, this spells death for the Mandalorian, resulting in actors losing there jobs. And since Lucasfilm can’t touch Gina Carano anymore, the big tech companies are doing what Lucasfilm can’t. It’s the opposite of what freedom of speech is. This is all ruining a brand, like Star Wars (which I thought was over at Return of the Jedi) that people loved, but I would argue for me, Star Wars ended at six, with Luke saving Leia, and the world returning to normal. Gina Carano got her happy ending, essentially. 

            Most who are censored by Twitter algorithms don’t. So, if Carano is shadowbanned, alt tech exists for a reason. Again fighting for freedom of speech gets tiring, but corporations don’t care about that, so this exists. 

            Finally, Gina Carano needs to come back to the Mandalorian or the hashtag #canceldisneyplus that became hot when Ms. Carano was fired, hit and hasn’t gone away. It’s nice to see big companies hurting for once, and listening to SJW’s has now turned there franchise into a sour piss soup that no one wants to drink from. 

            We don’t know what happens next, but today, it’s simple. Create your own books, and art that you can make money from. Don’t look to the big companies to care about what you, the reader, wants anymore.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly, and makes exclusive articles there. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Art and Culture # 33: The Philosophy and Reality of the Digital Industry

4 Apr

For the Uncensored!

I don’t want anyone to be confused and think I’m talking about science fiction, but story telling has always been just about the medium as it is the words being written. Some writers, like William Gibson, talk about the future in plain speak, but put it in far off future worlds, but it seems to me that the death of science fiction is not from the settings or the way characters speak. It’s not just with a form either. Writers don’t have to use a typewriter anymore, because the accessibility of computers made it easier for creative people to achieve there dreams. But I think Naked Lunch is what I think of. The film, not the book. Bill Lee, who works as a roach killer (all based on William Burroughs life) but the film diverts as Bill starts taking the bug powder as a drug. Bugs start talking to him, and he runs to a fictional place called the Interzone after he shoots his wife, Joan, in a game of William Tell. The famous line from the film is “Show them our William Tell routine.”

Trailer for Naked Lunch

            Bill Lee escapes to Tangiers, but it’s another version of Tangiers, unlike what you read in Paul Bowels The Sheltering Sky. It’s dominated by mugwamps, and a typewriter that speaks to Bill, as it is his source of creativity but also a great enemy to him.

            What this does serve is that no matter what the form of writing or the place, it always does serve a higher purpose. 

            What the digital industry offers creatives is that we don’t need to be at a publisher to help us channel our own Interzones. We have the ability to write down our thoughts, and no matter the promise of money or wealth, our words are still our own. 

            In the digital industry, words and places are sometimes incongruent with each other. You don’t need to believe in a Matrix to understand that cyberspace exists. It used to be a very scarce idea, and it felt like you were apart of a cult that knew something that the general public didn’t know. It was fresh, exciting, as you could hear and see so many people chatting and thinking alike or differently. Disagreeing and debating. Talking all at once. People who weren’t online didn’t get it. Less people were online when the Internet and the Digital Industries started, and it felt like a special community. 

            What the Matrix gave us is the digital industries, something for all to help sell there wares but also help build a stronghold in the digital industries. Amazon wasn’t even on the periphery yet. During the early 90’s you had to use dial up, and hear the modem clicking, dialing in. It was like listening to a track from the electronica band, Daft Punk. William Burroughs would never have imagined this in his wildest dreams. The Interzone and The Matrix do share some things in common. Like how one person on drugs can be in an entirely different place, while cyberspace and the digital industries allow us to go there without taking drugs. 

            Digital Industries and the tools  that helps us see cyberspace are apart of what we see, and the Digital Industry allows us to set up our wares. We use social media accounts to give ourselves validity, and we can tell people what we think and see, and where we have information to spared. No matter false or true, information is made up of sentences that give us meaning. It still is our information to spread. 

            Just because it’s wrong doesn’t mean it needs to be censored either. Digital Industries have helped a lot of independent artists become superstars, but if we aren’t allowed to say what we want, then that Matrix’s is not free, then it is controlled. 

            All the hatred and bitterness sewn online by the legacy media can be hurtful, damaging, but you can’t censor the right to be heard and in the Matrix, what would you rather be? Neo, or the machines? Maybe we’re all Bill Lee high on our own drugs, living in another time, but then, maybe being on drugs and away from online is a good thing (jk, don’t do drugs guys, but if you do, don’t get behind the wheel. Be safe when using recreational drugs). We will heal, but not from big tech telling us it’s okay. The Digital Industry will adapt, but if America heals, it won’t be help from Big Tech, at all.

            Where it will come from? Tuning out, and relaxing. Because after this, it won’t be that hard. Nothing should be harder than what America has had to go through. But in the digital nomads, if we have no where to turn to, we might not have anywhere left. But we will find a way. As Jeff Goldblum character’s, Dr. Ian Malcom said in Jurassic Park, “life finds a way.”

            The people will find a way.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. Also he can be found on Our Freedom Book https://www.ourfreedombook.com/thereallouistbruno17 His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

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Don Quixote: A Review

3 Apr

-For the Uncensored!

Orson Welles 1992 film version that never made it to a theatrical release.

Don Quixote, by Miguel Cervantes, “but with Part 2 appeared ten years later mysteriously by an author named Avellaneda” proves that the story of Don Quixote is as much part of the oral tradition as well as literary. Edith Grossman, the translator for much of Latin America’s superstar writer Gabriel Garcia Marquez notes, in the 2003 edition, “I believe that my primary obligations as a literary translator is to recreate for the reader in English the experience of the reader in Spanish. When Cervantes wrote Don Quixote, it was not yet a seminal masterpiece of European literature, the book that crystallized forever the making of literature out of life and literature, that explored in typically ironic fashion, and for the first time, the blurred and shifting frontiers between fact and fiction, imagination and history, perception and physical reality, or that set the stage for all Hispanic studies and all serious discussion of the history and nature of the novel.” 

I think everyone who reads the prologue, the first sentence reads, “Idle reader: Without my swearing to it, you can believe that I would like this book, the child of my understanding, to be the most beautiful, the most brilliant, and the most discreet that anyone could imagine. But I have not been able to contravene the natural order; in it, like begets like. And so what could my barren and poorly cultivated wits beget but the history of a child who is dry, withered, capricious, and filled with inconstant thoughts never imagined by anyone else, which is just what one would expect of a person begotten in a prison, where every discomfort has its place and every mournful sound make its home?!” 

            This opening paragraph is the most teasing way a writer can tease to his reader, “I’m probably one of the best writers in the world and there is nothing you can do to stop me. 

Terry Gilliam’s realized version of a botched film he tried to make but the budget never came through until 2019.

            As much of this can illustrate a finer point of Don Quixote, it proves that while much of Don Quixote is meant to be sardonic in nature, many would argue that modernity is relative to the geographic location of readers. Macondo, the fictional world of Gabriel Garcia Marquez, is much a mystery to readers in America and Europe.

            What I gathered in my journey with the Man of La Mancha, is that the primary theme of virtue was Don Quixote’s last and final stand. 

            Now, at every page, it was telling me to quit. It was almost punching me at every page to say, “You have read Proust, Melville, Sarte, Conrad, Marquez, Burgess, Nabokov, but this is the book that is going to defeat you. I am the master of all who have come before me.” I could feel Cervantes laughing at the modern reader, as he should, but even so, learning about Cervantes does help me decipher out my emotions toward the book. And I think it works. Andrew Klevan would argue that “Hamlet is the birth of the modern man” but every country and person has there own specificity about who is modern or not. What makes modernity is that each culture has to create a slice of culture to be able to rival literary hero’s so that I can push a country’s boundaries, and the more difficult a book was, it also makes the book a challenge to any reader.

            Again, as much as I enjoy difficult books, Don Quixote did a damn good job of providing a challenge, and the insanity of the story even showed at page 156, when Sancho is begging to know the reason of his journey. I would have told Sancho “Run, unless you are getting health insurance, leave.”

            Don Quixote is a reminder why epics are called epics. If video gamers are reading this, and you love open world games, Cervantes invented the word “side quests.” Not literally but I’m being facetious. It’s long, and dense, and it will make you consider why you read books in the first place.

            Cervantes, like many writers of the past, did not take into account the modern reader, because as Grossman describes, “his language was not archaic and quaint” but translators help bring an ancient book to new life. But even Grossman declares the originality of the book is what attracts people to Cervantes, and herself.

            What is ironic is that when piecing together my thoughts, it’s probably best described as “Goddamnit Sancho just give up on him.”

            Much of the narration gives more weight to Sancho, and the irony of having to help Don Quixote is much like a social worker trying to calm down an old person. But Don Quixote seems fully aware of his foolish antics. It’s about going mad while consciously aware of it. And the reader, might not get it at first, the power and humor of Don Quixote can be described with the phrase, “You love me because I am handsome and I love you because you are ugly.”

            What’s funny is that I said to myself, “Where the fuck are these windmills?” Then I kind of got that filmmakers always used the windmill analogy too much to summarize the whole journey of Don Quixote, and couldn’t tell each moment in the book. 

            It’s one of the most hilarious lines in the novel, but also gives us the sense that Cervantes had no road map as to where he was going. Much of the episodic nature of the first part is important to the way Cervantes uses Don Quixote as the last and final push against old age and death. 

            Don Quixote, is often outmatched at fights, and funny enough, he knows when to run away. It’s hilarious and often times had me thinking, “What do you have to prove to Dulcinea, lord Simp meister Quixote.”

            And many of the young will laugh, but what would you do for an Instagram influencer model just to notice you? I mean, did you ever just jump up and down because you were happy? Don Quixote does this in order to feel alive, but at least he’s driven by love, and not hate. Would you do that for an Instagram or tiktok influencer, or someone you cared about, in real life, or just chase after someone you couldn’t have? 

            I know the phrase “simp” is popular today, but for Quixote, he would have acted like a boomer and scoffed, gestating that “I’m doing this for love of my Dulcinea” and even if I were Sancho would say, “Whatever you say, Boomer.” But also, I hate to break it to people is that Dulcinea is a figment of love and the way Dante seeks Beatrice in Hell. 

            But after a while I saw Quixote as someone I wanted to help too, but I was glad Sancho was doing all the work. 

            Mostly, it’s a journey within a journey, and many characters, like the Knight of the Sorrowful Face, proves that Cervantes wrote this in order to create the episodic and the poetic together. 

            Because by the second part, much of the narrative focuses on Sancho as he and the Knight of the Sorrowful Face make up much of the narrative with Don Quixote, and to me, this story was more about Sancho. Much of the later narrative doesn’t really coincide with the first part, as the first and second parts are meant to be read as two separate books. As if you are reading part 1, 2, and 3, of Tolkien’s Lord of the Rings in one whole narrative, but divided in separate stories. The endlessness of the story, helping characters along the way created a sense of honor and devotion, to being a knight.

            It begs the question: “Why read this book anyway? What do you gain to prove by this?” And the answer I would give is, “Because you can’t push a button all the time and think you are gaining knowledge. Knowledge must be earned, not pressed on a controller. You don’t reload a gun in real life with pressing X or Y. Books are meant to sit with the author and see what is produced through language, and while much of Quixote is earned through reading, your brain will thank you. Yes, your brain. The thing you complain of others not using. Not everything should be an algorithm crated by companies with watered down entertainment for you to decide haphazardly and naively that ‘it’s okay’ without giving yourself over to an author or entertainers demands.”

            Now, don’t be insulted what I have said. Much of literature is about earning your right to read the book again. I guess this is a diversion, because much of Don Quixote is meant to be a challenge, and if you want challenging books, Don Quixote by Miguel Cervantes is the one for you. 

            Ultimately I was not defeated by the book as Cervantes promised, but it’s the celebration of the epic that pulled me in. Much of what I read would have to be re-read again, and that’s the joy of books, and any piece of entertainment. It’s not difficult for difficulty’s sake. It’s meant to challenge and give you depth and appreciation.

            By the end, the read is conscious of Don Quixote and his dreams. 

“Here lies the mighty Gentleman 

who rose to such heights of valor 

that death itself did not triumph 

over his life with his death. He did not esteem the world; 

he was the frightening threat 

to the world, in this respect, 

for it was his great good fortune

 to live a madman, and die sane.” 

            It ultimately proved my point I thought when I was reading this, and all I could feel was respect and honor for Don Quixote, as he wanted to live his life how he wanted to. I should feel pity and sorrow, but I was glad to take this journey with Sancho, Don Quixote, and all the characters he meets along the way. I don’t have this regret, and the book still sits on my desk like someone that can’t leave my attention. Like it deserves another read.

            The only criticism I have for the book is that if you really want to read the book, I would say get a hard cover edition so that the font is bigger, but then again, just take your time, and accept it. But still, however you read it, digital or print, it’s a classic for a reason.

            Final Analysis: 4 out of 5 windmills

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

http://www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Music/Soundtrack Review # 2: Liquid Swords

2 Apr

-For the Uncensored!

With this review, I could say in two words, it’s great, and then call it a day, but that would not explain overall what GZA’s second album “Liquid Swords” meant to me, but I was just six years old when this album came out. “Liquid Swords” released on November 7th, 1995, I didn’t really listen to the Wu-Tang Clan until Wu-Tang Forever. So, when I think about this album, the RZA and his dirty beats that were made to match GZA’s words and the way his rhymes fell on a beat and skipped rope around any MC who came around him. His original name, was “Gangsta G” but spelled “J-Z-Z-A,” on the credits for “Protect your Neck.” 

           Born in Brooklyn, New York, August 22nd, In an interview with the Guardian, he explains his inspiration thoroughly: “Writing for me really started in the 70s as a young child. I used to read a lot of nursery rhymes, and I learned a lot of those rhymes word for word. I would go to an aunt’s house, and she would let me play music, and she had The Last Poets album. At that time, albums didn’t have explicit stickers on them, so some of the songs had profanity on them, and I was moved by that. I would listen to those songs, to the flow, and I’d balance it back and forth with the nursery stuff I had. A year later I moved to Staten Island [from Brooklyn]. I had a few DJs in my neighbourhood that would play music in the streets. There was no hip-hop yet, there were just DJs that were playing disco, funk and pop music, and we would gather round, go to the parks and dance and enjoy ourselves. I would often take trips from Staten Island to the south Bronx, which is originally the first place of hip-hop. I was only around 11 years old, and sometimes RZAwould come with me. The DJs and MCs there were way more advanced than the neighbourhood I was coming from. It was just a culture that I was moved by, and I knew that was my calling.” ((https://www.theguardian.com/music/musicblog/2015/jun/19/mogwai-stuart-braithwaite-interviews-wu-tang-clan-gza-atp)

What makes GZA powerful is the lyrics he espouses on each track. On some tracks you can hear a young boy talking, and the dialogue is taken directly from the dub of “Lone Wolf and Cub.” In the most famous of his lyrics, he pontificates, 

“Fake niggas get flipped
In mic fights I swing swords and cut clowns
Shit is too swift to bite you record and write it down
I flow like the blood on a murder scene, like a syringe
On some wild out shit, to insert a fiend”

            The visuals he employs is a staple of GZA’s wordplay and he was nicknamed the Genius, by his first album, Words from the Genius. Truly, if this was the first real rhymes on GZA’s debut album, it was only a blessing because this is like reading a crime novel, as it’s being told from countless hours of perfection, as it was supposed to represent how words can create visuals. 

            The second track, “Dual of the Iron Mic” includes two of the Wu-Tang members, Masta Killa and Inspectah Deck, but the opening from GZA is almost as synonymous with the way the Wu-Tang built up there cache of lyrics, but also was the foundation of every single member to step up there game post 36 Chambers album. 

“Picture bloodbaths and elevator shafts

Like these murderous rhymes tight from genuine craft

Check the print, it’s where veterans spark the letterings

Slow moving mc’s is waitin for the editin

The liquid soluble that made up the chemistry

gaseous element, that burned down your ministry

Herbal vapors, and biblical papers

Smokin exodus, every square yard is plush

Fuck the screw-faced photo sessions facial expression

Leaves impressions, try to keep a shark nigga guessin” 

            It’s where each rhyme at the end of his sentence that the rhyme, should be a half syllable, but the way each word is meant to compliment each other at the end, without being lazy, as most rappers might do today. It’s almost a rise as the first track is meant to introduce GZA, but duel of the iron mic, with Masta Killa and Inspectah Deck, allows him to set the pace of the track.             

What the third track “Living in the World Today” does is allow you to be caught off guard by the beat. RZA was working at master levels, as he captured so much of the sound and funk that you would hear in New York City. The kind of persuasive beat making skills that would take someone twenty years to learn. According to the Wu Manual, Rza used a “Emulator SP-122” where Bring the pain “was made on that machine.” “Ensoniq EPS” and an “Ensoniq EPS-16 Plus” were also RZA’s equipment at the time. (The Wu-Tang Manual. The RZA. Berkley Publishing Group. New York. 196)

GZA’s lyrics were some of the finest at the time, as the mixture of the words covered over the grimy beats were some of the best that GZA could offer. Upon its release no one had heard anything like GZA as his lyrical proficiency made sure that each syllable was used to take up most of the bar (or lyrical line):

“My rhyme gross weight vehicle combination
Was too heavy for the Chevy’s is chased out the station

            When you look at the first two lines it’s here where you see GZA’s storytelling techniques amplified, as what would combine some very difficult word play for any other rapper, makes you see that no line is wasted. “Double-edged” at the first line would compliment the rhyme at the second line where it ends at “unleaded shit.”

“Double-edged was the guillotine that beheaded it
Gassed up, fuckin with some regular unleaded shit”

            “Gassed up” is used it’s to allow some momentary breathing room, to counter the compound sentence scheme, making it a tightrope, “fuckin with some regular unleaded shit”. You can see that with this phrase almost creates a closed in line that provides a closed in rhyme, almost layered.

            The fourth track, Gold, does provide some solid lyrical word play, as it does provide more proof that GZA is constantly thinking. GZA, as he does provide some great narrative techniques to the rhyme, as this is what makes GZA and his technique, but the most poignant rhyme that can be examined is here:

It’s mandatory that I supply all my troops with mega firearms
Big apes and spread ’em out like crops on a farm
To get cream, sometimes they repaint the scene.”

            Let’s break this down. These three lines represent how each word in the lyrics are rhymes bouncing off one another. “Mandatory” jumps onto the line “spread em out” as “mega firearms” reflects “farm” in the second line. What is best to point out is that what you see in these lines is that the syllables are interwoven, as the “cream” rhymes with “scene” closing off the first two lines that spent so much time carrying so many words with half the complexity. It’s not complex at first because GZA does this so effortlessly that you don’t really listen or study the lyrics the first time.

The fifth track is one of the most defining songs of the Liquid Swords album, and the most popular song that everyone knows. “Cold World” is to me, a track that gives GZA the lyrical credibility he deserves. I can say that on “Cold World” is where we hear Inspectah Deck’s story telling capabilities too. What doesn’t surprise me is that GZA, for someone who has accomplished so much, the track still resonates, as while the opening from Lone Wolf and Cub gives us more context to “Cold War” it provides the mindset of RZA’s influences on the track. 

While the track lyrically follows a simple pattern, the simplicity behind GZA’s lyrics prove that his “half short twice strong” way of rhyming is no different than Romantic poets who didn’t use big words in order to make there point known. He seems to repeat a closed in rhyme, as he repeats compound rhymes repeated within each line. There’s so many lines to quote, and it’s often the song most GZA fans remember. 

Around the fifth track, you start to hear what the rest of the album will turn into, as many who were just listening to it, maintain the strength of the album, is the crux of both GZA and deck’s rhyme scheme. What this track represents is the 90’s, and how grimy beats and story telling lyrics were so popular, and many could learn from GZA’s technique. 

Much of his lyrics do follow the pattern around the examples I have brought that are a bridge to what the rest of the album can sound like. Much of the first few lines from the five tracks are a story that do create a tension, and mood that can put the listener into the world of GZA’s lyrics laced with RZA’s beats that give GZA his place among the greatest lyrical MC’s that many would try to copy. 

The opening, by far, is one of the best opening bars in the entirety of Hip Hop, other than Inspectah Deck’s opening for Triumph.

It was the night before New Year’s, and all through the fuckin’ projects
Not a handgun was silent, not even a Tec
Outside as I’m stuck, by enemies who put fear
And blasted on the spot before the pigs were dere
You know hoods robbers snipers new in sight, fuck blue and white
They escape before them flash the fuckin’ lights”

            What is important is the delivery, as the openings of GZA’s bars on Liquid Swords set a precedent for Hip Hop and Rap, since its inception. Even here, we see that his words are merely just another outlook on life that no other rapper has done. It’s not stringing words along together. It’s about balance. Byron seems to be what I see most in GZA, as both GZA and Lord Byron are economical poets, both separated by time and distance, but the poetry of the two men are what make these two seem so alike, as 90’s rappers are known to place rhyme and words in the same lines. 

            With the Sixth track, labels, we hear RZA remark, “you got to read the labels.” Because if you don’t read warning labels you will die. Labels are what we see on milk cartons. But not on labels. Labels don’t tell you they are going to give you a shitty deal. If there was any possibility of that, no one would make art, but if that did happen, you have to read the contracts. Labels starts out with a signature GZA line, 

“Tommy ain’t my motherfuckin’ boy
When you fake moves on a nigga you employ
We’ll all emerge off your set, now you know God damn
I show living large niggas how to flip a def jam.”

            This song originates on GZA’s and RZA’s early career in the music industry. GZA’s first album, Words from the Genius, signed to Cold Chillin, and RZA, then performing as Prince Rakeem, Tommy Boy, were dropped after poor sales. Such is the nature of the entertainment business, but GZA crafted “Labels” as a reminder of how corrupt the industry can be. Naming famous companies that don’t care about artists and what they need to be happy and maintain a career. The song does illustrate how GZA can take lines like 

GZA is not really a punchline master, but his rhymes did reflect the thought he put into it. What is interesting is to study the rhymes, “The soft comedian rap shit ain’t the rough witty, On the reel to reel it wasn’t from a tough city, Niggas be game, thinking that they lyrical surgeons
They know they microphone’s a virgin, And if you ain’t boned a mic you couldn’t hurt a bee
That’s like going to Venus driving a mercury.”

            While this passage represents the GZA’s prowess, the rhyme is not overly impressive, since the fifth track represented a crescendo, as we are journeying through GZA’s world and what it means to be an MC in early 1990’s New York. In the early 90’s, gaining reputation is through battling and making a name for themselves. But that’s almost like sword work for a MC, and sharpening his mind and sword for rap was like learning insults, and how to form it on a beat. GZA is not really known for being a punchline master, but his rhymes do reflect the thought he put into it, that do make. What is interesting is to study the rhymes, you can see the progression of the lyrical weight attached to each line.

The seventh track, 4th Chamber, is different because this does open up with the Wu-Tang Clan members doing there best to create a mood and atmosphere, and while the Clan do an excellent job, they are merely saving the best for last when GZA arrives, The banks of G, all CREAM downs a vet Money feed good, opposites off the set” as he makes his prescience known, as his wealth represents the strength for veterans.
“It ain’t hard to see, my seeds need God-degree I got mouths to feed,” as he speaks of what his children need out of the world with knowledge for the mind, body and soul, “unnecessary beef is more cows to breed” while speaking about the enemies he may face in the world, when it comes to his experience with competition. As an aside, God, when said by the Wu-Tang Clan are represented by black men and women believing they are Gods, from the Nation of Five Percenters. Created by Clarence 13X, he narrowed down the tenants of Islam, as it broke away to help the people become righteous and use logic over emotion. 

The Eighth Track, Shadowboxin, presents a beat that is often more associated with jazz, as it’s meant to help provide a cadence for both Method man and GZA. Method man, in his earliest days, was developing his taste for the commercial medium. But GZA, as he is the smartest member of the clan, “Form like Voltron he would be the head” as it provided GZA takes his time, marinating his lyrics over RZA’s beat.

            As an aside, the beat, if you hear it, it does present how much of his style would be then later copied by other well known producers. Sampling is part of the Hip-Hop and rap producing community. The beats are not meant to go on forever, like a guitar solo would present a way to build tension with the singing. Much like Rage against the Machines guitars were almost akin to a scratching needle on a record. 

            Method Man does provide much of the template for his release, as it is rather different for Method Man. Method Man is deliberately rhyming slowly, as it’s almost like he follows the kick of the drum with the beat he’s rhyming over. But it’s GZA who does illustrate much of the clan’s origins when it comes to there background in battling MC’s “I slayed MC’s back in the rec room era” as he does provide some insight to other MC’s who don’t get it “Check these non visual niggas with tapes and a portrait” as he uses rhymes like a gun “before I use the rhyme RZA scratch off the serial.”

            It’s a track that upon hearing it repeatedly, the rhymes were perfected as much of the second half of the album is pitched to represent someone taking a shower. Like GZA’s trying to impress us because Method Man would become the face of the group for the first half of the clans career. 

            The 9th track, Killah Hills/10304, goes back to GZA’s importance as a storyteller. I would argue that without GZA’s story telling skills that carries the world of Shaolin within his rhymes, most of the clan would not have made it past there first albums. “ Restaurants on a stake-out So order the food to take out Chaos, outside a spark steakhouse” as it’s back to the grungy gritty beats Liquid Swords is remembered by. The rhymes detailing a deal gone wrong, as it’s almost from the hit men who are doing the job that a deal gone bad. “Maintain the power, I feel the deal’s gone sour Nigga missed the wedding, late a fuckin’ half hour” GZA paints a portrait that continues to detail his own sordid world of filth that from a bystander would take his crime thriller with fiction level quality. And his man who bought land from Tony Starks While he was contractin’ bricklayin jobs in city parks.” Ghostface Killah would take on the moniker of Tony Starks, as that would carry his career for 25 years.

            I’m going to skip over the tenth track as I am not interested in that track as much, as the track flexes Ghostface Killah, and the eleventh track is not my favorite, but the most important rhymes from GZA are not found on there. These two songs are not bad but do not reflect the strength of GZA’s lyrical swordplay. It’s almost like hitting tennis balls for him.

            The Twelfth Track, I Gotcha Back, is probably one of the most notable of GZA’s songs in his timeline. The first stanza of GZA’s lyrics prove that much of the criminal aspect he was building up to, is leading to the twelfth track, and the stanza is presented in full:

I was always taught my do’s and don’ts
For do’s I did, and for don’ts, I said I won’t
I’m from Brooklyn, a place where stars are born
Streets are shot up, apartment buildings are torn
And ripped up, stripped up, shacked up and backed up
From fiends, cause the bosses on the scene, they got it cracked up
Kids are slinging in my lobby
Little Steve and Bobby
Getting paid but it’s a life-threatening hobby
Yeah, they still play hide-and-seek
The fiends seek for the crack, and they hide and let the cops peep
Grown folks say they should be out on their own
Before the gangs come and blow up their mom’s home
Because they lifestyle is hectic, so fucking hectic
Blaow! Blaow! Blaow! Bullets are ejected
My lifestyle was so far from well
Could’ve wrote a book with a title “Age 12 and Going Through Hell”
Then I realized the plan
I’m trapped in a deadly video game, with just one man
So I don’t only watch my back, I watch my front
Cause it’s the niggas who front, they be pulling stunts
Back on the Ave of Lavonia and Bristol with a pistol
Sticking up Pamela and Crystal
You know your town is dangerous when you see the strangest
Kid come home from doing the bid and nothing changes
What is the meaning of CRIME (what?)
Is it Criminals Robbing Innocent Motherfuckers Everytime?
Little shorties take walks to the schoolyard
Trying to solve the puzzles to why is life so hard
Then as soon as they reached the playground, blaow!
Shots ring off and now one of them lay down
It’s so hard to escape the gunfire
I wish I could rule it out like an umpire
But it’s an everlasting game, and it never cease to exist
Only the players change, so

What we see from this paragraph is that somehow, the rhyme is like a threaded barrel in a gun. The lyrics are tight and they bounce off the next line, as the syllables prove they are providing a dance, as someone would move there hips on the dance floor, except he’s using words to produce the inflection in his voice too. 

Now, I won’t be covering the thirteenth track “B.I.B.L.E.” or “Basic Instructions Before Leaving Earth” because GZA does not appear on the track at all. I would probably discuss that alone, since it’s Killah Priests most famous track. I think the importance of GZA’s Liquid Swords still holds influential over hip hop heads, and proves that rap did indeed rely on lyrics to tell a story and engaging enough to provide multiple listens.

            What keeps me invested as rappers as poets, as Byron was to his peers, GZA’s Liquid Swords is a mashup of culture trapped within sound can take listeners on a new journey. While I only mentioned one relation between Rappers and Poets, rap, in the 90’s, is personified in how technique and voice match the way the rhymes and poems do help create genuine authentic pieces of art. 

            This is a must own for anyone who wants to investigate rap as an art form, and the WU-TANG Clan took rap to places the next generation can’t go. 

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

Also available on podcast too: 

www.breaker.audio/the-real-louis-t-brunos-blog

https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81MDA5ZDY3MC9wb2RjYXN0L3Jzcw==

https://pca.st/504t7jxr

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Godzilla Vs. Kong (2021): A Review

1 Apr

-For the Uncensored!

Out of all the movies that have pleased me the most in all my time watching cinema, King Kong and Godzilla are two titans of cinema. Every Godzilla fan shunts the Matthew Broderick movie into outer space where it belongs, so GTFO with that bullshit. And yes in fact I loved Peter Jackson’s iteration of King Kong, because it was a loving ode to the original story by Demille and proved that the Kong could still be in fact, the King. Kong: Skull Island (2017) didn’t impress me that much, but most of the newer iterations passed Peter Jackson have never lived up to the momentum of Peter Jackson’s version in 2005. Plus, it was the only time Kong fought three T-Rex’s. It’s still an amazing scene and Naomi Watts still delivers a great performance in it.

            What I would say is that I am pretty luke-warm on the recent iterations, and Godzilla King of the Monsters (2019), produced by Legendary studios, was okay, fun but not so bad. What Godzilla Vs. Kong does well is manage to juggle all the human characters from the recent films, but also put enough titan clashing to make Harry Houser cream his pants.

            After this, there will be spoilers ahead, so if you haven’t seen the film, please, go watch it now, or if not, don’t say I didn’t warn you.

            In Legendry’s produced Kong Vs. Godzilla (2021) transported to Skull Island, by APEX, rivals of Monarch, to investigate a Hollow Earth dimension, inside the center of the earth (this is where I thought of Doug McClure), where it houses most of the creatures, and can fight against Godzilla. Who is being a major dick right now. Seriously, he attacks Kong in the ocean. What gives Zilla? Not smoking enough to calm your ass down?

            But something is wrong at Apex, the rival company to Monarch, from the previous films, which is housing secret technology. And Kong knows sign language now, which is a plus, but also plays into Michael Crichton’s Congo (1980), a little.

            The interesting part of this film is that Emma Russel, who returns from Godzilla, King of the Monsters, gets involved with a conspiracy theory whistleblower who helps her find out what’s going on at Sublevel 33. The conspiracy theorist laments about his dead wife and talks about “when this flask is empty you know I’m done.” Josh, the plucky best friend, tags along, and pretty much does nothing the entire time. Honestly, this might actually prove that Alex Jones was right about everything. I guess all the water and nuclear energy turned Godzilla gay.

Because inside here, we find it. “Skull Crawlers.” Emma and the conspiracy theorist guy get trapped inside the pod, and they are taken to Hong Kong, through a tram tunnel system.

            When Kong is in Antarctica, he wakes up disoriented, covered in snow, and sighs. Playing with the snow. He’s instantly calmed by Jia, a young girl who can communicate with Kong. He’s asked to go through in the hole where they are about to travel through with the Heav station to find the weapon that might help them defeat Godzilla. They are pushed a thousand miles in two seconds, into another world, Hollow Earth. (it literally makes me think of films like the Earth’s Core in 1976 and Land that Time Forgot in 1974, both starring Doug McClure). 

            After a battle with another snake bat creature, ripping off its head and eating it, he makes his way to a chasm, and then with gravity turning him light, lets him fly. The orchestra reminds me of Vangelis at this moment, and it’s pretty astounding. 

            The humans in the Hollow Earth follow Kong, where he picks up an ancient axe, and roars, and like the humans to spoil the moment, they say, “he’s home” and I’m like “no shit, thanks for that exposition. Now let me enjoy this moment.” At least Peter Jackson let me enjoy the moments Kong had without exposition to make me acknowledge how I felt. I think the exposition could have been dialed back.

            Emma then find there way to a “sacrifice pit” as they are now faced with Mecha Godzilla. Her father, making an appearance from the second film, now knows that his daughter is in Hong Kong, as Godzilla goes to fight off MechaGodzilla, knowing that there is trouble in the animal kingdom. 

As I had thought, Kong was onto the enemy. But they find out Gidorah’s brain, a Titan brain, is being kept alive. So, it wasn’t just MechaGodzilla either, it’s creating the neural link up to Mechagodzilla through a living supercomputer. Somehow I wish Doug McClure was somewhere in this film.

Kong’s axe glows, and it draws radiation from the core, but Apex then uses a little drone to take a sample of the radiation for APEX. But APEX has no idea if the energy source will break the MechaGodzilla prototype or not.

As this is happening, Godzilla is shooting his nuclear ray into the ground in Hong Kong, and shoots a way through to Hollow Earth. So this begs a question, “Did Godzilla drill a hole straight into China?”

Once you see this scene, you will think that. It’s what I heard about my Asian neighbors as a joke “They are digging a hole straight into China.”

So, Kong jumps through with the axe, putting the axe against the cave, riding it down like a goddamn APEX predator he is.

The fight between Godzilla and Kong in Hong Kong (not meant to rhyme) leads to buildings being destroyed by both Kong and Godzilla, and Kong’s axe blocks Godzilla’s radiation beam. In the first fight on the sea, Godzilla was king, but on land, Kong is King. So the two are both shows there disadvantages.

Through a twist, Godzilla dominates Kong again, but Godzilla sees a worthy adversary and walks away again. As the leader of APEX tries to start his MechaGodzilla, it breaks away from the pilot, and then starts to gain sentience.

When MechaGodzilla and Godzilla fight one another, MechaGodzilla has an advantage, firing missiles at Godzilla. The situation with Kong is that he’s still barely alive, but they need to restart his heart. They use the Heav ship as a compressor, and the little girl, Jia, signs to Kong that Godzilla is not the enemy. Kong even knocks his shoulder back into place like an 80’s action hero, and begins his fight anew.

As Emma and Russel, and the Emma’s friend, Josh (who has mostly been comic relief and the plucky best friend) are about to die in Hong Kong, trying to disrupt Mecha Godzilla’s satellite connection, the friend takes the conspiracy theorist drink and pours it over the machine. It turns out to work. Godzilla blasts a radiation shot into the Axe, and Kong fishes him off proper. Cutting off his arms, slicing his neck, and ripping off his head for a final touch. 

With MechaGodzilla defeated, Emma is reunited with her father, and the conspiracy theorist meet her dad, and invites him onto her podcast. Josh has his final moment when Emma embraces her dad, and he said, “It was Emma’s idea.” It kind of was a funny moment, as her father said, “Shut up Josh.” At the end, it looks like Godzilla is trying to fight again. Only the two have an understanding, looking at each other like 80’s action stars, with Kong letting go of the axe, and Godzilla disappears off into the ocean. 

Man, if this was in a theater, I think I would have still loved this just the same, but with Mecha Godzilla spoiling it for everyone, it kind of kept me unsurprised. But it’s still a pretty great film for 2021. But I think it manages to embrace a cheesiness that works for the film, without being overtly cheesy as the film seems to be aware of the inspirations it draws from, and much of the film relies on the audience’s ability to suspend disbelief, and have fun. And fun it is. But some of the exposition to help make me feel things didn’t work for me, and I already knew how I felt about certain scenes. But it is kind of an era for the Legendary films monster epics. Now, all we have to do is make Call of Cthulu now.

Final Analysis: 4/5

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. Also, he writes on https://louisbruno.substack.com, where you can support him directly. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.  His next series, City of Sand, will be available sometime this year.

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