Is that horse rights activists or rather horse SHIT activists?
This article, written by someone who clearly cares deeply about animals and has seen how they are really treated by the extremist American animal rights movement, details exactly the horse shit I would have expected from the American AR movement who claim to love horses and elephants and orcas so much:
It is ethical to know fate of the animals we “save” from abuse when we take their work and security away from them. Too often, we simply pat ourselves on the back for being virtuous while the animals we supposedly have helped go off to slaughter. We need to require the advocates of horse and animal and pony and other bans to know – and document – precisely where banished animals like horses and elephants and ponies will go, who will care for them and how their care will be funded.
…
__ An ethical animal welfare movement must understand that there is no nature, no wild, for animals to return to any longer. There is no greater abuse of animals than the destruction of animal habitats all over the world, and we are all responsible for it. We need to acknowledge our own individual role in destroying the natural world rather than simply hating and harassing the people we blame for it, the people who work with animals, live with them, and yes, are the ones who kill them and take them to slaughter.
There is no place for domesticated animals to go when we drive them away and claim work with humans is cruel and abusive. Climate change challenges us to re-think our animals about where and how animals can remain in our world, there is mythical space out there for the carriage horses, the ponies, or the elephants to go when they are driven from their work, increasingly condemned as “abuse” or “stupid tricks.” Such tricks have uplifted and entertained human beings for thousands of years, a debt that can never be repaid.
We are condemning these animals – the ponies, the carriage horses, the elephants – to a death much like Arthur’s. That is not an ethical solution to their dilemma.
“Our system of animal rescue, shelter and adoption routinely separate the poor the elderly and working people from animals, even though millions desperately need homes.” <– I have always maintained that animal rights is just another manifestation of the class-war of the elites against the poor. You see, for poor people with no resources their animals are often the only thing they have. Even homeless people will say that about their dogs: their dogs are their bodyguards, they keep them warm at night, etc. By taking away the animals from the poor, the righteous bourgies are waging a class-war against whatever few resources poor people have left.
_The goal of any animal rights movement ought to be the promotion of health and safety for animals in our every day world, not their removal from society. It is unethical to make it ever more difficult for ordinary people – the poor, the working, the elderly – to adopt, purchase, or keep animals. It is unethical to seek to remove animals that are healthy and well cared for.
The road to hell is paved with good intentions once again.
Support Sea Shepherd? Or do you support one of the other left-wing environmental groups engaged in vigilanteism out at sea? In that case you’re also indirectly and very much ideologically responsible for what is shown in this video below, because if left-wing groups are allowed to patrol the seas and engage in whatever vigilanteism they feel like, then the same courtesy should extend to reich-wingers who are now patroling the seas to harass refugees.
I am sure that the people appearing in this video will say that they have nothing to do with the likes of Sea Shepherd (and I’m sure Sea Shepherd will share that sentiment and insist they too have nothing to do with these people either), and that whatever they are doing is completely lawful in their country, that they are only trying to help law enforcement do their jobs better and that they are only being good patriots or whatever, but hey, isn’t that exactly what Sea Shepherd always tells the courts in the States, and yet they were found guilty of breaking the law anyway? Go ahead read the comments underneath the above video: reich-winger after reich-winger is applauding this form of vigilanteism and advocating the outright mass-murder of refugees at sea, with comments such as, “These people should sink those parasite muslims”, “Make them ‘disappear’. The countries they’re coming from, don’t care about them at all. Most of them don’t have any papers.?”, “worst case scenario they ram the refugee raft or cut it up to sink the ppl on it?”, “They dont have even a rifle. What they want to do, ram them??”. Now, where have we read such racist comments before?
Oh, and speaking of incitement, whatever happened to the people who posted the above comments? I guess reich-wingers openly advocating mass-murder on Youtube is now legal under Europe’s absurd, hypocritical and opportunistic incitement laws.
Because what’s good for the goose is good for the gander. If left-wingers are allowed to break the law and raise mayhem out at sea in the name of their environmental ideologies, so are these reich-wing vigilantes hunting refugees in the name of their white supremacist ideology. I bet many of these Swedish minutemen have been watching the Whale Wars TV show religiously taking notes in order to learn how to set up and excecute their own reich-wing operations at sea using the Sea Shepherd/Greenpeace model as a source of inspiration. Sea Shepherd might not like reich-wingers following their steps but they certainly seemed to have inspired them to do so. It reminds me of that article that was published in The Guardian about two years ago, titled “Can Sea Shepherd survive its own success?”. The question rather should be: will Sea Shepherd survive its right-wing copycats? For right-wingers following the Whale Wars show on TV the focus isn’t environmentalism, it’s the fact that the show presents an activist methodology that the far-right can appropriate and deploy for themselves. An activist methodology doesn’t care whether the activist implementing it is left-wing or right-wing. An activist method is just a method regardless of who is using it to what end. No single political group has an intellectual property monopoly on an activist method. Sea Shepherd, Greenpeace and others made it fashionable and glamorous (thanks to their mass media exposure) amongst activists to carry out vigilanteism at sea, and lo behold, these reich-wingerers took note and are now doing the same thing. This is why ALL vigilanteism at sea, whether it’s Sea Shepherd or these far-right groups, is inherently wrong. No government has an obligation to tolerate this vigilanteism.
Let’s see: Alex is working on a movie about a communist mom and her relationship to her son, but both characters are performed by one and the same female actress, so if you take away the gender-confusion of a female performing a female and a male role, Alex’s movie might as well be a movie about mother-daughter relationships and how these are affected by Greek communism. The name of the mom in his movie is Νίκη/Nike which is the Greek word for “victory”, so the mother’s name is basically “Victoria”. Lo behold, today I discovered this Bulgarian 2014 indie film by female filmmaker Maya Vitkova called, oh yes, Виктория or”Viktoria” which she claims is a semi-autobiographical tale about mother-daughter relationships set in the 1970s and early 1990s in Bulgaria under communist rule and after the fall of Soviet communism, which is the exact same time period that Alex’s upcoming film is set. COINCIDENCE?
Here is Maya Vitkova explaining her movie Виктория/Viktoria:
And here is what she said on IMDB (which makes her the only if not one of the few filmmakers ever to address their film viewers on IMDB in the comments):
Author: mayvitkovitz from Bulgaria 2 June 2015
The key situations in Viktoria are stories that happened in my own life, but the willingness to tell them is not an obsession for psychoanalysis or a self cure. The motive to write Viktoria links to the story Kurosawa tells at the very beginning of his autobiographical book. A healing frog in a box with mirror walls, frightened by its own reflection, starts secreting an oily secretion similar to sweat. They used to boil this sweat on a faint fire for days and that’s how produced a miraculous cure. According to Kurosawa, to write about yourself, is similar to being locked between four walls covered with mirrors and stare at yourself. And although you’re not a frog, you feel sweat streaming down your body… Storytelling is a mission, one of the few ways to change human lives. To write stories and turn them into films, which truly regenerate the humanity, the human spirit, you odd [ought?] to be honest. To lock yourself into the mirror box and examine you from top to toe, to tell a story of a moment in your life which somehow changed you, a story, that can thus help turning the lives of those who see it better. I do hope that the cure – the film – I prepared out of my „sweat”, will be healing for the people who use it for their „wounds”. That’s the reason I wrote Viktoria.
Synopsis Dreaming of the West, Boryana is determined not to have a child in communist Bulgaria. Nonetheless, her daughter Viktoria enters the world in 1979, curiously missing a belly button, and is declared the country’s Baby of the Decade. Pampered by her mother state until the age of nine, Viktoria’s decade of notoriety comes crashing down with the rest of European communism. But can political collapse and the hardship of new times finally bring Viktoria and her reluctant mother closer together?
The film follows three generations of women in the final years of the People’s Republic of Bulgaria and the early years of the new government, focusing on reluctant mother Boryana and her daughter, Viktoria, who in one of the film’s surreal, magical touches is born without an umbilical cord. Though unwanted by her mother, Viktoria is named the country’s Baby of the Decade, and is showered with gifts and attention until the disintegration of the East Bloc. Despite throwing their worlds off balance, the resulting political changes also allow for the possibility of reconciliation.
You will see that there are several scenes here which in another context would have been pedophilic, such as an image of a baby’s bare bottom and another quick shot where a girl’s pair of underwear is cut off with scissors. I obviously haven’t seen the movie itself but everything about this trailer suggests that Maya Vitkova’s Виктория/Viktoria is a movie that touches on the subject of sexual child abuse under communism.
This surreal excerpt from the movie of a young girl dressed up like a mix between Kenny from the animation Southpark and Little Red Riding Hood being pushed over by a gigantic hand, again suggests that Виктория/Viktoria is a movie about child abuse:
And this scene of a piano recital reminds me of those stories that Alex used to tell in interviews, where he said he was being paraded around like a trophy by the Greek communists after he and his sister joined the Greek Communist Youth organization at the ripe old age of 12, and Alex saying that he considers this experience of being paraded around by the communists in his youth “akin to child pornography”:
The communist context of the movie is made explicit in the following somewhat parodic excerpt:
So, let’s take this from the top again:
1) Alex is making a movie where the mom character is called Νίκη/Nike or Victoria. Two years ago Vitkova already released a an indie movie called Виктория/Viktoria, which is the name of the daughter in her movie.
2) Alex’s mom character Νίκη is a communist, Виктория/Viktoria takes place during communist rule in Bulgaria with the mother and daughter being celebrated by the communist regime.
3) The time period of the events in Alex’s film is the 1970s and 1990s, Виктория/Viktoria likewise takes place in the 1970s and the early 1990s.
4) Виктория/Viktoria is about mother-daughter relationships, Alex’s movie is about mother-son relationships but the two main characters, the mother and the son, are both interpreted by a single female actress.
5) Alex is a pedophilia apologist; Виктория/Viktoria‘s trailer suggests that this movie touches on the subject of sexual child abuse under communism, with many scenes suggesting or depicting child abuse.
6) Alex said in interviews that being paraded around by the communists after joining the Greek Communist Youth organization as preteen was a very traumatic experience for him which felt “akin to child pornography”; Vitkova’s girlchild character Viktoria is paraded around by the communists in Bulgaria as the “Baby of the Decade”, in a movie that Vitkova claims is semi-autobiographical. Alex’s mom is a communist who still in public interviews will refer to other leftists in Greece as “comrades” and is a former card-carrying member of the Greek Communist Party. Vitkova claims that Виктория/Viktoria is about trying to restore her relationship to her mother after the fall of communism.
I’m sure Alex would say that he has never seen Виктория/Viktoria and that these similarities are all a big coincidence, but I have come across so many male artists ripping off lesser known female artists that I am extremely supicious. Obviously there are other films that depict mother-child relationships under communism or the post-communism transition period (the German film Goodbye Lenin would be a well-known example amongst my contemporaries), but the above similarities should raise an eyebrow.
The 2015 Greek documentary Refugee Highway by Chronis Pechlivanidis, a must-see documentary about the refugee crisis that will never be shown in Western countries because it completely humanizes the refugees, has now been made freely available on Vimeo for HQ viewing with Greek subtitles (74 minutes) and with English subs:
THE REFUGEE HIGHWAY is a feature-length docudrama in the form of a fiction about an Afghan family which flees their homeland illegally due to severe Taliban attacks to Greece.
They spend several years in exile in Iran before relocating to Greece in 2009, what they thought would be a final safe haven in which to raise their children. Instead, the nightmare they ran away from in Afghanistan catches up with them in Europe, in the centre of Athens. A bomb hidden in a briefcase mistaken for garbage by the 15-year old son and 10-year old daughter explodes, killing the boy and blinding the girl, while their mother bears witness to the attack.
Fear of Muslim immigrants as a security risk has intensified due to the increasing influx of refugees globally and constant coverage of international terrorism by the media. THE REFUGEE HIGHWAY gives a human face to these statistics. This moving film will challenge the audience to re-evaluate their understanding of the international refugee problem. It will reveal the harsh reality of human smuggling in the quest for safety and security.
Dr. Gail Saltz discusses possible psychological roots of Donald Trump’s personality traits, including pretending to be his own publicist, and what it means:
But if “John Miller” or “John Barron” don’t exist and are Donald Trump, it makes me think of the statement that he’s offered so often in this campaign where he says he’ll ‘surround himself with good people.’. Perhaps his idea of “good people” are misters Barron & Miller, meaning, there is nobody that I can surround myself with because I’M DA MAN, I’m not yielding to anybody’s judgement, I’m gonna rely on Barron & Miller!
Read more at:
Donald Trump masqueraded as publicist to brag about himself
And speaking of Donald Trump, here is a video I found of legendary American punk rock artist Jello Biafra presenting a Donald Trump colouring book for American children which has an image of Trump dropping a nuclear bomb:
I love it how everyone all over the social media over the past few weeks was screaming holy hell about the Netherlands doing business with a country like Turkey, but doing business with a country that considers this kind of a colouring book suitable material for children is considered non-controversial.
I assembled this anthology of channels kids and young adults like to follow on Youtube, mainly because these people are always referencing all these Youtube celebrities I know absolutely nothing about and I was curious to see what they were into. Apparently young people nowadays are really into manic pixie type girls, gaming, photogenic people acting weird, transsexuals, Japan and food. So maybe we should just have a Youtube channel of a photogenic manic pixie transsexual (blonde and white of course) acting strange in Japan trying out the food and playing games to cover all bases. I have added the amount of subscribers next to accounts with particularly huge numbers.
The following blog entry is a work of fiction and bears no relation to existing people or events.
Cold as Efthimia Sitting On An Iceberg vegan glutten-free Greek ice cream recipe by drs. Efthimia Dilpizoglou
Συστατικά:
– Δύο Αμερικανοί φασίστες αλεσμένοι, άσπροι
– Τέσσερις Αμερικανοί φασίστες δικηγόροι λιωμενοι, λευκοί
– Τρεις Ολλανδοί φασίστες δικηγόροι θρυμματισμένοι, χλωμοί
– Δέκα Ολλανδοί και Αμερικανοί φασίστες δικαστές μαλακισμένοι, βιασμένοι, τεμαχισμενοι, εξαφανισμενοι και μη, γαλανοαιμοι
– Ενας Ελληνας παιδεραστης ολόκληρος, μόνο ΠΟΠ (Προστατευόμενη Οικογενειοκρατία Προέλευσης)
– Ανταρκτικός πάγος, 2-3 παγόβουνα μπλε
– τρεις κουταλιές ζάχαρη
– απόσταγμα απόστημα βανίλιας
– blue food colouring
Εκτέλεση.
Η εκτέλεση των υλικών είναι η ίδια η εκτέλεση. Chill well before serving into a hot oven. Whipped scream and crazy nuts optional. Anything less than the best is a felony.
The Feminist blacklist of Greek rape movies by male filmmakers (and a few female ones) is an ongoing feminist film criticism project by drs. Efthimia Dilpizoglou. The creation of this list was prompted by the following interview with lesbian American actress Jodie Foster, wherein she condemns the use of rape as a plot device in American films:
She added, “It was ridiculous, it was every single movie I saw. If you really got to what was the overriding motivation that that woman that you found out at the end, it was always rape because for some reason men saw that as this incredibly dramatic thing. ‘Well that’s easy! I can just pluck that one out of the sky and apply it to her.’ ”
Foster said she believes the storyline persists because men have failed to create a “complex merging” with female characters. “They were unable to put themselves in her shoes and her body and say, ‘She was competitive with her mother’… They were unable to make that transition.”
The above quote from Jodie Foster in fact very accurately describes almost every indie Greek movie being praised by the Flix.gr online hegemony and the Voulgaris oikogeniocracy. I thus decided to assemble a list of male-made Greek movies that use rape as a lazy-assed plot device: Το μικρό ψάρι by Yannis Economidis, Μέχρι το πλοίο by Αλέξης Δαμιανός, Lost Girl by Nikos Pastras, Αν ήταν νόμιμος ο βιασμός (literally “If rape was legal” <– CAN YOU BELIEVE THIS FUCKING TITLE?!) by Alexandros Sipsidis, the list of Greek rape movies by men just goes on and on. Μέχρι το πλοίο (1966) by Αλέξης Δαμιανός this movie that many young Greek filmmakers have been brainwashed to think of as a sensitive Greek treatjerker and one of the greatest pieces in the Greek film canon, is actually a rather badly made rape movie. The scene where the woman is in the barn and the two men are pulling at her arms is a rape scene. The only reason you don’t see any body-parts is because they couldn’t show that back then. Anyone who does a close reading of that scene should be able to see it for what it is: simulated rape.
Just to be fair and to also to preempt any silly MRA kind of criticism, I will also assemble below the male filmmaker blacklist a list of Greek movies with rape scenes by female Greek filmmakers, so you can see for yourselves how completely different the rape scenes are when they are directed by women. Most recently we saw rape uncritically and sensationally being used as a plot device in the 2015 film Ursa Minor by Elissavet Chronopoulou, which surely a cinematic example of Stockholm Syndrome and how female Greek filmmakers adopt a male gaze because they don’t know better and haven’t got a clue about feminist film criticism. I know this for a fact because not a single female Greek filmmaker I have ever met has ever read any form of feminist film criticism.
In addition to the second list of females directing rape scenes, I also tried to to think of a single Greek movie where a man gets raped by men (like, say, the rape-scene in American History X where Edward Norton “picks up the soap” in prison) and I basically can’t think of one. I can honestly say I have never seen an adult Greek man get raped by another man in a Greek movie. The victims I see in Greek rape movies are always women. There a castration scene in the Hellenic Genocide drama feature 1922 by Nikos Koundouros where a Turkish lynch mob captres and cuts the balls off a Greek (all this in a Greek movie long before Hostel ever came out people!), but that movie by Koundouros doesn’t really count because it isn’t rape — in that movie too it’s Greek women who are getting raped by Turks. Singapore Sling, the Greek exploitation rape movie by Nikos Nikolaidis doesn’t count either because that’s supposedly a man who is being raped by women, who curiously never looks like he isn’t enjoying himself. I think it’s fair to say that despite its reputation of churning out edgy films, it’s abudantly clear from my list that homosexual rape amongst adult men is the ultimate cinematic taboo in a macho patriarchy such as the Greek culture. It reminds me of a quote I once read in an essay in the late Eve Sedgwick’s Tendencies book, where either she or the person she was interviewing said something to the effect that the image of a man on his back with his knees in the air and his rectum exposed is the ultimate cinematic taboo in American film and that showing this image to American audience would be akin to the Apocalypse, this being an image that, if shown to a mainstream audience, would signal the end as far as American culture is concerned. (But I have actually seen La Pudeur des Icebergs by Daniel Léveillé Danse performed live onstage in Amsterdam 10 years ago, so I beg to differ.) So, if you really want to be an edgy Greek filmmaker, stop making Greek rape movies and basically go and make a Greek “Πάρτι των Λεμονιών”. Perferably yet, stop making rape movies altogether. Having a movie literally titled Αν ήταν νόμιμος ο βιασμός, “If rape was legal”, is not very funny, mr Alexandros Sipsidis. I want this list to show how gross, disgusting and overtly sexist Greek cinema has become just as its becoming more well-known around the world than ever.
THE FEMINIST BLACKLIST OF GREEK RAPE MOVIES BY MALE GREEK FILMMAKERS:
Ursa Minor by Elissavet Chronopoulou, 2015 <– This movie in particular is the perfect example of the way female Greek filmmakers have internalized the male gaze and the rape scene as a plot device because they’ve witnressed it times immemorial in Greek movies and have hence thus ended up reproducing sexist Greek stereotypes of women being masochistic victims who supposedly “crave” abuse and humiliation. As one critic of the movie commented: “Ποια κοπέλα θα έβλεπε έναν άνδρα να την ακολουθάει και να της λέει: «Δε θα σε αφήσω να φύγεις.» και εκείνη χωρίς κανέναν δισταγμό θα έμενε και σε λίγες ώρες αργότερα θα προθυμοποιούνταν να κάνει έρωτα μαζί του, χωρίς τη θέληση της, προκειμένου να τον πείσει να μείνει σπίτι της το βράδυ (δεδομένου μάλιστα ότι αρνείται την ερωτική επαφή στη συνέχεια μέσα σε μια σχέση πέντε μηνών με αυτόν τον άνδρα); Η δημιουργός αναφέρει ότι «Η ιστορία μιλάει για ένα κακοποιημένο κορίτσι, που ακριβώς επειδή έχει κακοποιηθεί, έλκει την κακοποίηση.» Δε φαίνεται πουθενά ο λόγος για τον οποίο αποδέχεται την κακοποίηση.”. Greek female filmmakers are thus neither encouraged or interested in subverting the expectation of rape and misogynist abuse in Greek movies. Female Greek filmmakers are merely ignorant reproducers of the rape convention. So completely have Greek female filmmakers internalized the rapist gaze of male Greek filmmakers that they can’t even conceive making a film from the perspective of the female and instead explicitly adopt a male gaze, since this gaze is all they know: “βρισκόμαστε στην οπτική γωνία του ήρωα και επομένως ξέρουμε μόνο όσα ξέρει κι εκείνος”. In Greece, even the women identify with the rapist at the expense of the female rape victim. The misogyny of Greek films is therefore a truly totalitarian and tautological manifestation of the rapist male gaze. Even the critic makes up excuses for the rapist, describing him using the inevitable perenial favourites amongst Greek rape apologist, “child-like” and “sensitive”: προβάλλεται ως ένας ευαίσθητος χαρακτήρας με μία εμφανή παιδικότητα, κατανόηση και μεγάλη θέληση για να βοηθήσει, να διορθώσει την ηρωίδα (ατάκα ήρωα: «Ήλπιζα να γίνεις κανονική.»). Yes, Greek film critics really do believe that rape and abuse are the result of “too much feeling” and even a “child-like innocence” on the part of the rapist, rather than the result of a truly psychopathic lack of any feelings of empathy in a man. Let there be no mistake about it, no man ever imagines himself a child when he is raping a woman. This suggestion that rapists are brutalizing women because they are innocent children who cannot help themselves is one of the most dangerous mindfucks Greek women have suffered at the hands of a sexist patriarchal culture.
LIST OF GREEK MOVIES WHERE AN ADULT MAN GETS RAPED BY ANOTHER MAN:
Δεν την φυλάει κανείς, uh-huh Φοβούνται μην τους μείνει αδειο το κελί της Μα όλο γελάει αυτή, uh-huh Θέλει το πτώμα να βρουν Και να παριστούν πως τάχα δεν μπορούν Να την φανταστούν ωμή Πως είναι μόνο κρέας αυτή Και έτσι θα αρχίσει να χωράει Μες την πληγή το μαχέρι
Έλα να δεις κι εσύ το μαύρο – η μάλλον κόκκινο – χάλι που έκανε ο Άλεξ την Σοφία Κόκκαλη στο νέο του music video. Η απόλυτη δηθενιά και αναισθησία να παριστάνει την συναισθηματικότητα. Χίλιες φορές προτιμότερα να έβλεπα την Κόκκαλη να την έδενε ο Vinny Winn Kyle με τις πορτοκαλι μπλούζες του όπως έλεγε ο Vinny στο βίντεο για την Μικρά Αγγλία 😀 Δεν ανέφερα καν που η ιδέα πίσω από αυτό το τραγούδι και βίντεο είναι 100% κλεμένη από το βίντεο και τους στίχους του Liar του Henry Rollins σε σκηνοθεσία του Ολλανδού Anton Corbijn, το βαμμένο κόκκινο πρόσωπο, τα γαλλία, οι στίχοι για την μοναξιά, οι γκριματσες, όλα πρωτοφανές, όλα κλεμμενα –>
And since we are on the topic, here is Alex’s mom the communist before a class of highschool students in Greece openly admitting to these kids that she lies during interviews:
12:54 Δεν μπορω να δωσω τις 50 συνεντεύξεις που μου ζητάνε, γιατί, ακόμα και τις 3 η 4 που δίνω πιάνω τον εαυτόν μου πολλές φορές και να επαναλαμβάνω, να κάνω νιάνιά τα ίδια και τα ίδια όταν είναι και ας πούμε και παροιμίες οι ερωτήσεις, και έχω πιάσει πολλές φορές τον εαυτόν μου να λέει ψέματα.
Translation: I cannot give the 50 interviews that are requested of me, because, even with the 3 or 4 interviews that I do give, I catch myself repeating, yapping the same old same things when the questions are the same, let’s say, and I’ve also many times caught myself lying.
Well, this is certainly refreshing for yours truly, to have a liar like Alex’s communist mom Ioanna Karystiani openly admit before a class of children and even openly on Youtube by extention that she lies during interviews, because most of the liars I profile here on the blog as rule will staunchly deny being liars and will instead accuse me of being a liar for painstakingly documenting and exposing their lies. How refreshing is this indeed! 😀 Maybe it’s a Greek thing because in my experience Americans are always shocked and offended to the core of their being when someone manages catches to them in a lie. I obviously wish people had it together enough that they didn’t have to lie at all, but if I had to choose then I think I prefer the Greek approach of openly lying and openly admitting it and consider this to be more healthy than the aggressive American denialism I generally have to deal with. Why can’t Americans be more like Alex’s communist mom and just admit that they too will lie in public?
Project Keep Staring 