The Cosmic Emporium

[Emil El Zapato]

Hmm, there are some respectable names on that list.

• Richard Dolan
• Travis Walton
• James Gililand
• Linda Moulton Howe

It is of course a shame that it once again smells like a gratuitous moneymaking adventure. At least they don't have Corey Goode, David Wilcock, Simon Parkes or George Noory among their speakers.

Is that monkeymaking adventure...I'm starting to lose faith in Linda Moulton Howe...she's going down to many rabbit holes based on 'special' 2nd hand information...Just my opinion, of course...

[Aragorn]

Is that monkeymaking adventure...I'm starting to lose faith in Linda Moulton Howe...she's going down to many rabbit holes based on 'special' 2nd hand information...Just my opinion, of course...

I agree.

[Gio]

Making it hurt so good !

[Chester]

I agree.

My guess with regards to so many of the celebrities in this diverse genre known as "the alternative community" is that when someone gets "hot" (especially if the hot streak last for awhile) what often follows is a cooling off period and this usually presents a challenge to the formerly rising celebrity. "Do I try and find a way to get "hot" again? Do I try and forge new material that gets me back on top? I was getting pretty comfortable with all that attention (and financial benefit)... hummmm, what shall I do?"

And that's when people often make choices that, well, choices where they appear to have allowed themselves to... to compromise themselves.

Very, very few of these micro celebrities of the alternative community maintain their standards, continue to produce cutting edge information. And for those that sell spirituality, unless they are incredibly gifted in writing and/or speaking, they often fizzle out as well or, they may succeed in creating a cult big enough to feed their ego and financial needs by replacing the ones who wake up and leave with fresh new vulnerables.

[Gio]

Asteroid Impact – How Big a Threat to Earth? | Space News

ThunderboltsProject

June 30th marked the annual celebration of Asteroid Day, and science media used the occasion to suggest the need for greater funding for planetary defense against such an intruder. But just how real is the danger to Earth from kinetic impacts from asteroids, comets and meteors? In this episode, we explore this question, and the new perspective offered by the Electric Universe.

Published on Jul 30, 2019

13:59 minutes

Source: https://www.youtube.com/watch?v=-czwdU9uzqg

[Aragorn]

Heads up, I've deleted 11 posts in total from both this thread and from the What Motivates Bill Ryan thread. The management would very much appreciate it if everyone were to leave the drama out of it from here on. Thank you.

[Gio]

hmm ...



FBI Document Warns Conspiracy Theories Are A New Domestic Terrorism Threat

"A recent intelligence bulletin comes as the FBI is facing pressure to explain who it considers an extremist,
and how the government prosecutes domestic terrorists" ... Read more here

[Gio]

An Innuendo ...

Digging In The Dirt

Peter Gabriel

Source: https://www.youtube.com/watch?v=LJdV34rpUwA

[Emil El Zapato]

Been there, Done that!

[Gio]

Ah mustn't forget. ...


The Space War Heats Up...And You're the Target! - #NewWorldNextWeek

Published on Aug 1, 2019

14:37 minutes

Source: https://www.youtube.com/watch?v=kayQaouboWo

[Gio]

Been there, Done that!

Speaking ...

Watch Julia Louis-Dreyfus Respond to Marianne Williamson’s ‘Bizarre’ ‘Yada Yada’ on ‘Kimmel’

"Democratic presidential hopeful dropped classic Seinfeld phrase during recent debate

Julia Louis-Dreyfus appeared on Jimmy Kimmel Live Wednesday and talked about the surreal experience of watching Marianne Williamson drop a “yada yada yada” — the phrase famously used on Seinfeld — during a recent Democratic primary debate.

Williamson slipped the “yada yada” in while responding to a question about gun control, which she used as an occasion to discuss big money spending in politics. Kimmel played the clip on his show last night, prompting Louis-Dreyfus to crack, “I guess she’s gonna pick me as her running mate? Is that what that means?”

When Kimmel asked if it was exciting to see the phrase pop up out of nowhere, Louis-Dreyfus admitted, “It’s bizarre, it’s kind of like worlds colliding and then some… It’ll be weird when they say, ‘No soup for you.'”

Elsewhere in the interview, Louis-Dreyfus spoke about how starring on Veep offered her some disconcerting new insights into the state of American politics. She also chatted about the final episode of the series and getting nominated for her seventh Outstanding Actress Emmy for the show, having previously won the prize the past six times, one for each season of Veep. Despite her impressive collection (she has 11 Emmys total), Kimmel showed a picture of Louis-Dreyfus’ trophy mantle, which features just one statue — a chunk of concrete taken from the first draft of her star on the Hollywood Walk of Fame embossed with a misspelling of her name, Julia “Luis”-Dreyfus.

“It’s a prized possession of mine and just a good reminder to keep me in my place,” Louis-Dreyfus cracked."


Julia Louis-Dreyfus on Democratic Debates, Tom Hanks & End of VEEP

Published on Aug 1, 2019

12:02 minutes

Source: https://www.youtube.com/watch?v=6T_HPuwyYjo


Source: rollingstone.com

[Gio]

Earlier today ...

Pilot makes emergency landing on Washington highway

"Incredible. Watch this pilot make an emergency landing on SR 7 in Pierce County, Washington.
The moment was caught on a WSP trooper's dash cam video. Amazingly, no one was hurt: ...

Q13 FOX
Published on Aug 1, 2019

1:46 moments

Source: https://www.youtube.com/watch?v=DaWELQBISiQ

[Gio]

Apparently ...



Ethiopia Just Set the World Record for Most Trees Planted in a Day

[Gio]

Here''s one for William S ...


“Honeyland,” Reviewed: A Gripping,
Frustrating Documentary About
a Beekeeper’s Fragile Isolation

In “Honeyland,” about the beekeeper Hatidze Muratova, who lives in isolation with her mother, it’s as if the reality of Muratova’s life were too messy for the filmmakers’ hermetic schema.

"The documentary “Honeyland,” about a beekeeper in rural Macedonia whose livelihood is threatened by the actions of new neighbors, has many of the virtues of a good dramatic feature. Its narrative construction depicts extraordinary tensions and conflicts with a clarity and coherence that a screenwriter might dream of. At the same time, the film’s dramatic power comes at the expense of the reportorial side of documentary filmmaking. It’s as if the filmmakers, Tamara Kotevska and Ljubomir Stefanov, recognized the allure of their subject as the action unfolded, and then, whether in the filming or in the editing of their footage (four hundred-plus hours’ worth, cut down to an eighty-seven-minute feature), molded it to familiar forms of movie drama. The result is a film that’s in equal measure gripping and frustrating, a work of nonfiction in which the elision of many factual elements, in the interest of compact dramaturgy, makes an extraordinary true story feel fabricated.

A woman carrying a bundle on her back is seen, from far above, walking alone on a desolate plain along a path cut unevenly through dry grass; and then from below; and then, again, from a different high angle. She reaches a steep rock face by climbing on a narrow ledge onto which the camera operator follows her, too. As I watched the woman approaching the rocks, pulling a honeycomb from a dark compartment behind a stone plaque, and scooping bees by the cupful into a basket, I found myself wondering what she thought of the filmmakers who were following her on this perilous mission—how she and they arranged the shooting, and, from a Heisenbergian perspective, what effect the filmmakers’ presence had on her activities and her ideas.

The woman’s name is Hatidze. (Her last name, Muratova, is seen in the end credits.) She was born, she says, in 1964; she has, apparently, spent her entire life in this craggy farm region of the former Yugoslav republic. She lives with her mother, who’s bedridden and ill, in a stone house with no electricity or running water. Her mother, Nazife—whose name is never heard in the course of the film—has an oozing and apparently sightless eye and a grave bleeding wound near it, on the side of her face, which is bound with a compress and a towel. The family is of Turkish ethnicity, and speaks Turkish. Hatidze, who never married and has no children, ekes out a living for herself and her mother by keeping bees and gathering and bottling their honey. Hatidze’s methods are intimate and humane; she’s endowed with a loving touch that, seemingly, the bees recognize—she works with them barehanded and appears never to be stung. She speaks to them and sings to them, but, above all, she nurtures and nourishes them, telling them, “half for you, half for me”—she doesn’t deplete their supply of honey to maximize her short-term income but treats the hives that she sustains on another rock wall, alongside her home, with familial care.

Hatidze and her mother live in apparent isolation, without friends, other family, or neighbors. Then a string of trucks and a trailer struggle along a road to another stone house, diagonally across from hers—the Sam family, also of Turkish ethnicity, including a mother (Ljutvie), a father (Hussein), and seven children, ranging from toddlers to preteens. The family raises cattle and brings with it a large herd, and the family quickly befriends Hatidze. She plays with and teaches the children, talks with Ljutvie and Hussein, and, when he visits her, shows him her hive. Hussein asks her about money—what she gets for her honey—and, with that apparently innocent question, it’s obvious, after a very gradual and protracted setup, that the drama is about to begin. Approximately ten euros per jar, she responds, and, if “Honeyland” were a cartoon, Hussein would suddenly get euro symbols in his eyes.

Moments later, he’s seen unloading from a truck a set of boxes and frames used in commercial beekeeping. Hatidze, friendly and helpful but also wary, cautions him to leave half of his honey for his bees—because otherwise they’ll attack her bees for their honey. It’s no spoiler to relate that this is exactly what happens, though the way that it happens—in its effect on Hatidze and her mother, in the commercial details that drive Hussein to mercenary despair, and in its effect on relationships within the Sam family, too—unfolds with a novelistic intricacy and tightly sprung dramatic mechanism. Just in outlining the conflict here, I find myself caught up again in its destructive power, its brewing enmities, and its overarching, tragic sense of the disturbance of cosmic order.

Yet there is a price—or, perhaps, not a price but merely a needless sacrifice—that comes with tying this mighty narrative knot. Kotevska and Stefanov give little sense of the surrounding world in which the film’s participants live, and what the filmmakers do show tends to frustrate rather than satisfy the viewer’s curiosities. Hatidze travels by train to the country’s capital, Skopje, to sell honey, sitting on the trip, as if by calculated cinematic contrast, next to a teen punk with spiky green hair. Speaking with one of her retailers, who is Albanian, she says that all the other Albanians and Turks have left her village, that she and her mother are the only ones left. But we never find out what kind of crisis or what circumstances led to this exodus, or how isolated Hatidze’s life actually is. (Members of her family are thanked in the film’s credits, but they are never shown onscreen, and it’s never clear whether Hatidze and her mother have any contact with them.) Her life is depicted as one of complete autonomy, as if her rocky corner were long untouched by any civil authority. Yet a scene of great dramatic significance involves the intersection of legal and medical matters, though the filmmakers show no contact between the movie’s subjects and the officials or professionals with whom they’ve apparently had dealings.

Hatidze’s solitude is one of the film’s prime subjects and also its dramatic mainspring, and its details and practicalities are merely hinted at, and utterly unexplored, throughout. One of the Sam boys becomes Hatidze’s companion in her apiary adventures, and in one conversation she laments that she doesn’t have a son like him. Not long thereafter, Hatidze asks her mother why she turned down offers of marriage that were brought for Hatidze, long ago, by a matchmaker. Nazife gives a poignant response—that she didn’t turn the offers down, but Hatidze’s late father did—but the exchange has a contrived feeling. Has she never before confronted her mother on this central life matter? We don’t know, because the filmmakers wouldn’t dare disturb the sealed-off observational purity of their storytelling with even so much as an interview question.

Much of the movie is filmed in the Muratova home; Hatidze displays the daily details of her domestic life and her labors to the filmmakers, who must have virtually lived with her for three years while they were filming. But even the terms of their complicity, the relationship that they and Hatidze share, remains a frustrating blank. (Was she instructed never to look at the camera?)

Eliding the modernity of Hatidze—the bureaucratic ties that bind her to the administrative state, the sense of extended family, of friendships, of politics, of personal history—has a strategic effect on the film. The filmmakers establish an agrarian fantasy of perfect rustic isolation, a place of Edenic purity in which more than Hatidze’s own loving enterprise, her livelihood, is threatened—what’s spoiled is paradise itself. It’s as if the reality of Hatidze’s life and work, the practical relationships of filmmaking, were too messy and ambiguous for the filmmakers’ tidy hermetic schema. This is no mere theoretical quibble of documentary form; it’s the relationship between experience and cinema, between what's happening and what's seen. It’s a relationship that, despite their daring, perceptive, nuanced, and empathetic work, the filmmakers didn't respect."

by Richard Brody
August 1, 2019
Source: newyorker.com

Honeyland [Official Trailer]

In Theaters July 26, 2019

Source: https://www.youtube.com/watch?v=B27ORUHlp6E

[Gio]

The end is near ...

Senate Bill Could Fine Up To $15,000 For Sharing A Meme You Didn’t Make

Published on Jul 28, 2019

1:08 moments

Source: https://www.youtube.com/watch?v=JwFVGVVDOGc