"The Iron Heel" (1908) was author Jack London's (White Fang, Call of the Wild) socialist manifesto set in a futuristic dystopia. It is widely credited as being THE FIRST "dystopoian novel"...influencing George Orwell (Animal Farm & 1984), Aldous Huxley (Brave New World) and Ayn Rand (Atlas Shrugged).
Given the work-place horrors of the 2nd Industrial Revolution (1880s-1920s), it is easy to understand the Labor-centric ideals of writers from this era. London, a San Francisco-based thinker, hung out with lots of socialists. They sure had a bone to pick with industry back then. But today's liberals (during the era of OSHA, for Pete's sake) are still swimming in the same vat of hate and willful ignorance.
The supreme irony here is that most of London's predictions of the fall of capitalism (by the 1930s) never materialized and (since he died in 1916) he never even saw how U.S. industry won 2 world wars.
But one prophecy that DID materialize (sort of) was the rise of a fascist oligarchy that would rule and oppress labor (industrial and agrarian) and the middle class. I say "sort of" b/c he did not think that the oligarchs would emerge from his own, beloved socialist left!
Also, he predicted that the oligarchs would build a magnificent city called Asgard where the wealthy class could live in splendor while the proletariat would live in poverty. Sounds a lot like today's San Francisco.
I just realized that I have attempted nearly 8 times over the years but have never been able to watch Lawrence Kasdan's SILVERADO (1985) all the way through. Something about it never seemed quite right to me. And then I got to thinking last night: "Hmmm. A western that has ONLY liberals in the cast doesn't feel like and authentic western to me."
The cast is a bunch of lightweights and Commies.
Danny Glover? Kevin Kline? Jeff Goldblum? Linda Hunt? Roseanna Arquette?
And Scott Glenn, Brian Dennehy and Kevin Costner are all liberals pretending to be conservative tough guys. If you were opening a Pizzeria, would you hire a bunch of vegan chefs?
So, I had it on for over 90 minutes last night. I just listened to it as I was blogging and it DID NOT EVEN SOUND LIKE a Western. Just a lot of preachy, touchy-feely crap about feelings and do-goody liberal bull-shit. 2 hours of pure virtue-signaling.
The characters talked like Ivy League lawyers about the horrors of all sorts of discrimination.
A horse opera with modern-day "woke" morality.
Like an episode of West Wing in 1880s cowboy costumes.
Why do liberals think it's OK to put a 16 year old into the spotlight as a professional authority on science? Would a marine grunt dictate orders to an audience of superior officers? Would a pre-med student criticize a convention of brain surgeon's on their technique? Our world is upside down.
It seems like they incubate these creeps in a placental soup of hate. So that they emerge from the womb with acerbic dispositions and an air of discontented hubris: Irrational, entitled, juvenile, condescending, ignorant and disgusting.
We all know why All-State Insurance keeps pushing the All-State guy. After what seems like an eternity (16 years), this cat is still going strong.
Pure & Simple: It is virtue-signaling and Political Correctness.
All-State is run by Liberal Zealots.
To them, the majority of Americans are just dumb white folks who need an hourly dosage of racial sensitivity training to re-calibrate our white privilege.
Eventually we are all supposed to feel better about ourselves by letting the authoritative-sounding black man (with a deep voice) talk down to us 30 times a day. He knows more about everything than we could possibly ever hope to understand. He is like god on Earth. Like Obama.
The "Obama syndrome" in perpetuity.
Most TV spokesmen have a shelf-life of 3-5 years. Longer if they are playing themselves in more serious situations. Actor Dennis Haysbert has been doing this tired gig since 2003. 16 years is unheard of, especially when it is just a running joke. Jokes get tired after 2 or 3 years. So something else is going on here.
Jack Jones sings "Wives and Lovers" (by Burt Bacharach)
Back in the 1950s-60s, was this the way married life was supposed to be?
Well this song explains somewhat the tragic aspirations of Betty Draper in the TV series "MAD MEN" .
In retrospect, how sad that young wives at that time were so brainwashed. Yes, it was a double-edged sword.
The tragedy of Betty Draper was quite common in middle- and upper-middle-class culture in the U.S.
But this may also have been the fallout of a working-class problem from 60 years earlier.
After Prohibiiton and the subsequent push for feminist roles in the workplace, post-war housewives had to compete with the allure of office and factory women, which eventually led to an increase in divorce rates and, ironically, the influx of even more housewives themselves into the workplace seeking an income after losing a breadwinner.
The pendulum may have swung too far when women were marching for equal rights. That march began 70 years earlier, in the 1890s, both in Europe and in the U.S.
What women could not realize back then was that they would be cannibalizing their own uniqueness by demanding equal footing in the workplace. The grand scheme of feminism could not engineer away the natural sexual magnetism between men and women. So workplace romances sprang up and began unseating happy homes and destroying families.
Feminism began with the temperance movement. Because drunkenness of men destroyed families. So women wanted assurances, safety and other protections from falling into poverty after an abandonment. Wayward men were definitely a problem.
So this led us to Prohibition.
I'm just not sure we needed all this feminism to sober them up. Sexual abuse of boys may have been a contributing factor to their adulthood troubles.
100+ years later we need to re-examine why families still aren't working.
Families worked better when mother stayed at home with the kids and father went to work. Incidentally, some of the worst bosses I have had were women.
A sad day.
This man was simply the best performer...EVER.
I had the great fortune of seeing Aznavour perform twice. Once at Carnegie Hall (with my parents) and once at Radio City (w my wife).
I learned about Aznavour through my dad who had lived in Germany and Paris during the Korean conflict. We were driving in his car one day and this terrific song came on the radio. My dad told me about Aznavour being an Armenian Frenchman who was the "Sinatra" of Europe. I was only about 12 years old at the time. Many years later (in my 30s) my appreciation for Aznavour grew and I took my parents to see him at Carnegie Hall. It was a great family night.
MAMMA MIA! Here We Go Again (2018)
PG-13 | 1h 54min | Comedy , Musical , Romance | 20 July 2018 (USA)
DIRECTOR: Ol Parker
WRITERS: Ol Parker, Richard Curtis
CAST: Lily James, Amanda Seyfried, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Andy Garcia, Julie Walters, Cher, Christine Baranski, Meryl Streep.
SYNOPSIS: Five years after the events of Mamma Mia! (2008), Sophie (Amanda Seyfried) prepares for the grand reopening of the Hotel Bella Donna as she learns more about her now deceased mother's (Donna's) past.
REVIEW: Terrific romp with great music and performances.
The script is a bit clunky at first by gets the kinks out by the second act.
A flashback storyline follows the young Donna's (Lily James) original journey to Greece 25 years earlier and how she met her 3 suitors: Sam, Bill and Harry.
The introduction of new characters and plenty of lesser-known ABBA songs help make this 2nd visit very worthwhile.
As with any ABBA-themed project this film vacillates from nostalgia to regret, to triumph. Handling these segues is a bit contrived but If you've already bought into the ABBA agenda you won't really care. Others might hate it.
ABBA's oeuvre is so complex that it can invoke heartache and longing or inject one with invincible hope. If you don't believe me go back and watch "Muriel's Wedding" (1994) and try not to smile despite Muriel's painful life story.